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Scanned from the collections of
The Library of Congress

Packard Campus
for Audio Visual Conservation
www.loc.gov/avconservation

Motion Picture and Television Reading Room
www.loc.gov/rr/mopic

Recorded Sound Reference Center
www.loc.gov/rr/record

January

1941

LARGEST CIRCULATION OF ANY AMATEUR MOVIE MAGAZ

1 .

‘ H

JAN -7 19AI

ADVISORY EDITORS

R. A. K. BAUMGARDNER

Peoria Cinema Club

=TER BEZEK

Chicago Cinema Club

JAMES BIALSON

Amateur Motion Picture Club of St. Louis

MOSS BROWN

Dallas Cinema Club

EORGE BURNWOOD

The 8-16 Movie Club, Philadelphia, Pa.

LAUDE W. A. CADARETTE

Los Angeles 8mm Club

EMERSON CLYMA

i Detroit Society of Cinematographers

JSSELL A. DIXON

Pittsburgh Amateur Cinema Club

J'RIL DVORAK

Suburban Amateur Movie Club

i^THUR E. GIBBS

Portland Cine Club

kY A. HOOK

Seattle 8mm Club

.FRED F. KAUFMAN

Indianapolis Amateur Movie Club

E. NESTELL

Cinemen Club

kRCISSE a. PELLETIER

Toronto Amateur Movie Club

{lBERT B. PETERSON

Metropolitan Cine Club

^I'ME RIEBETH

Minneapolis Cine Club

irrHEO. ROTH

” Sherman Clay Movie Club

p. ROUNTREE

^ Bay Empire 8mm Movie Club

IfAUL SNYDER

j| Norfolk Amateur Movie Club

Id E. SNYDER

I Des Moines Y.M.C. A. Movie Club

F. SISSEL

Austin Movie Club

C. ENION SMITH

Metro Movie Club of Chicago

eod cs Second-Class Matter, May 4, l?38, at
^stoftice at Los Angelas, Calif., under the Act
of March 3, 1879.

I^iption rates: U. S. $2.00 par year. Canada
l^reign Countries, $3.00 per year. Single copies
anadian and Foreign single copies 3Sc; Copy-
I9<i0. by Ver Helen Publications. Advertising
rates on application.

©Cl

B 480889

MOVIES

Membir Audit Bureau of Circulations

CONTENTS FOR JANUARY, 1941

it’s new to me

WITH ADV.4NCED CINEEILMERS

WHAT EVERY BEGINNER SHOULD KNOW

YOU CAN MAKE GOOD MOVIES RIGHT FRO.M THE .START

By J. P. Snyder

HOW TO USE YOUR MOVIE CAMER.\

HOW TO EDIT YOUR FIRST HOME MOVIE By Pctcr S. Bezel'

TITLING PROVIDES THE “FINISHING” TOUCH By Gco. U\ Cl/shnian

MOVIES OF CHILDREN CAN BE INTERESTING, TOO !

By Russell A. Dixon

ABC OF LIGHTING FOR THE BEGINNER By R. E. IVorstell

SHADOWS LEND ARTISTRY TO CINE PHOTOGRAPHY By Arthur Miller

MEET THE FIRST 100% REEL FELLOWS CLUb! By A. J'. McCarthy

“three wishes” MOVIE OF THE MONTH By J. II. Sclioeri

THRILLS GALORE IN LATEST FILM COLLECTORS’ GEM By Jack Irivin

here’s “glorified 16’s” bag of tricks — By Arthur II. Hart

THREE PICTURES THAT RATE STARS — Rcvicu’s by the Editors

SCHOOL SELLS ACTIVITIES WITH 16.MM iUOViES — By Ira Lancelot, Jr.

NEW FILM RELEASES

EXPERIMENTAL CINE WORKSHOP

THE READER SPEAKS

INFORMATION PLEASE

BACKYARD MOVIES

TITLE TROUBLES

INDOOR LIGHTING CHART

EXPOSURE METER GUIDE

TITLE BACKGROUNDS — By Eelix Zelenka

20
21
22

26
31
33
35
37
42
44
47

★ Shot of the Month — "The Beginner," by George W. Cushman.

CHAS. J. Ver HALEN C. J. Ver HALEN, JR. ARTHUR E. GAVIN

PUBLISHER ASSOCIATE PUBLISHER EDITOR

OFFICE OF PUBLICATION
6060 Sunset Boulevard, Los Angeles, Calif.

Phone SRanite 5149

NEW YORK OFFICE
Everett Gellert, 62 West 45th Street
Vanderbilt 6-5254

CHICAGO OFFICE
C. N. Burris, 712 Wrigley Building
Whitehall 7784

JANUARY

NUMBER I
VOLUME VIII

REEL FELLOWS

A friendly fraternity of
movie amateurs sponsored
by Home Movies maga-
zine. Your membership is
Invited.

RAY FERNSTROM
Technical Editor

GEORGE W. CUSHMAN

J. H. SCHOEN
Associate Editors

C. E. BELL
Photographic Editor

L. C. BUSCHER
Art Director

H O L L Y V\/ O O D ’ S MAGAZINE FOR THE AMATEUR

PAGE 2

HOME MOVIES FOR JANUARY

. March of Time,
face the same

the amateur

„ny weather,

but tee can I J

ss on exposure.

G-E ex|J0suie meW

GElStl

march of

This winter, why risk wasted film . . . loss of priceless pictures . . .
disappointment over color? The new G-E exposure meter gives
you correct exposure . . . better movies . . . sparkling “stills”
every time.

Features: One-hand operation, with new finger-tip control. Sharply
directional and amazingly accurate . . . won’t pick up excess light
from snow, sky, or water to cheat you of delicate shadow detail
or rich color. Extreme sensitivity ... in dim light it uses the new
supersensitive “incident light” method preferred by Hollywood
cameramen for greater accuracy. Exceptionally sturdy . . . won’t
be thrown off by rough handling or tropic
humidity. Price |21, at good photo-
graphic dealers everywhere. General
Electric Company, Schenectady, N. Y.

4SK Foil THE "I\EW d-E' -
IIET.. 5 MFTF/IH IIS I

YOUR THRILLS BEGIN WHEN YOU PICK IT UP!

• •

By CiNEBUG Shopper

The adaptor attaches
directly to the camera and
the cable release is ten
inches long. Adaptor
models and cameras for
which they are designed
are available now as fol-
lows: CK-20, 25 and 60
for Cine Kodak 8-20, 25
and 60 ; K8-F for Keystone K-8, front button ; K8-S for
Keystone K-8, side button ; BH-CS for Bell & Howell Com-
panion and Sportster; BH-141 for all models of Bell &
Howell 141 ; V-5 for Victor 3, 4, 5.

Release and adaptor units for all models of Revere C-8
cine cameras. Bell & Howell’s Aristocrat and 70 will be
obtainable January 1st.

Release & Adaptor ^ cable

release

and adaptor for certain
models of Cine Kodak,
Keystone, Revere, Bell &
Howell and Victor home
movie cameras is an-
nounced by Garmnr Prod-
ucts, Los Angeles, Cali-
fornia.

Kodaflector Senior Kodatlector Senior, a new light-
ing unit for amateur photography,
still and movie, is announced by the Eastman Kodak Com-
pany, Rochester, N. Y.

Features of the Kodaflector Senior include reversible
reflectors which offer a choice in the effective angle of the
light beam or spread, suitable adaptors for both No. 1 and
No. 2 Photoflood lamps, flexibility in height adjustment,
and provision for an accessory Extra Assembly which
adds a third light to the basic two.

The stand of the Kodaflector Senior consists of two 30-
inch telescoping nickel-plated tubes, which clamp at vari-
ous height settings by means of a thumb screw. Two lamp
sockets are mounted on L-shaped extension rods at the
top of the Kodaflector Senior stand, and are adjustable
for angle.

The reflectors are of sheet aluminum, conical in shape
when in use, and may be “unbuttoned” for storing flat.

Bolex Title Kit For movie

amateurs,
American Bolex has intro-
duced the Master Title Kit
with two hundred and twen-
ty-two all metal characters,
including upper and lower
case letters, numerals and
punctuation marks. Letters
are all white and may be
colored for Kodachrome
work with water colors.

Included in the Kit is a
special composing template to facilitate rapid and efficient
alignment of letters on title background. Also included
are complete instructions.

Crflief Deluxe Rewind Newest addition to the line of Craig
^ Supply Company, Los An-

geles, is the Craig De Luxe Rewind which will accommo-
date 8 and 16mm reels up to 2000 feet capacity. It has a
new type locking device on the spindle and an adjustable

HOME MOVIES FOR JANUARY

PAGE 3

^housa«'

)\ec'of °

hove «

*l0C\OtS t

HERE IS THE MOST
ASTOUNDING HOME MOVIE
EVER OFFERED...
SURPASSING EVEN
HINDENBURG EXPLODES"
IN ELECTRIFYING THRILL!

’I*

Own and show BOTH these mighty scoops in ONE Castle Film!

The two greatest camera scoops of all time in one magnificent film! See
these epic making spectacles right in your own home! Share the vivid
reality of these mighty scenes with your family and friends!

FRENCH FLEET BLOWN UP BY BRITISH GUNS!

The most stirring battle ever filmed by ace camera men actually under shell
fire on the decks of the fighting French fleet. Excitement beyond imagina-
tion . . . Thrills beyond description as the sirens scream “Battle Stations’’
and the epic struggle begins. History filmed as it happened. The powder
magazine of the Bretagne blows up. See half of France’s mighty fleet ex-
plode before your very eyes!

TACOMA BRIDGE COLLAPSE!

Bows under . . . powder magazine explodes . . .
the Bretagne goes down to glorious defeat.

Nature ravages man’s mightiest work! See the 11,000 ton center span rock-
ing grotesquely in its weird dance of death! Witness the amazing fight for
life of the lone motorist caught on the collapsing span! $6,000,000 in mighty
engineering swept away like straw in the teeth of a gale.

An all-time unforgettable, unsurpassed movie thrill! You’ll
watch it in wonder for years to come.

One of man’s mightiest works . . . cracked like
a crust of bread, crashing into the river below.

Th is and one hundred Castle home movie productions
are available at your photo dealer. See him today while
stocks are complete or mail this handy order form now.

I —

Please send Castle Films’ "SUPER
THRILLS IN THE NEWS" in the size and edition checked.

16 mm SIZE

8 mm SIZE

Headline 100 Ft.

Complete 360 Ft.

Sound 350 Ft.

Fleodline 50 Ft.

Complete 180 Ft.

« $2.75

$8.75

$17.50

$1.75

$5.50

CASTLE FILMS

30 ROCKEFELLER PLAZA
NEW YORK

FIELD BUILDING
CHICAGO

RUSS BUILDING
SAN FRANCISCO

Name

Address.
City

.State.

PAGE 4

HOME MOVIES FOR JANUARY

CRAIG PROJECTO-EDITOR

For Action~Editinff the Hollywood Studio Way

It takes proper Editing to make
modern fast-moving and interest-
sustaining movies. The Projecto-
Editor is a smoothly animated view-
ing device allowing careful inspec-
tion, slow motion if desired, of ac-
tual movements on its brilliant
miniature screen. Use it to trans-
form random shots into smooth-
running sequences that everyone
will enjoy seeing.

The 8mm model, as illustrated at left, complete with

splicer, Rewind and Film Cement $27.50

8mm Projecto-Editor alone $22.50

16mm model with Sr. Splicer and Rewinds.. . $49. 50

CRAIG 16mm SENIOR SPLICER

A professional type dry splicer — for sound or
silent film. Its unique design, combined with
precision machining and sturdy construction,
has made this the outstanding splicer for the
amateur. Only four easy operations to make
perfect, straight splices . . . quickly ... ac-
curately . . . and without wetting the film.

For Sound or Silent Film $10.00

FOR MAKING PROFESSIONAL-
LIKE FADES AND WIPES

Here’s the finishing touch
for all well-edited movies.
FOTOFADE permits the
joining of odd scenes with
smooth jades or wipes —
dissolving one into the
other without abrupt loss
of continuity so essential to
modern attention-compel-
ling movies. Easy and quick
to use — no special equip-
ment necessary. Bottle suf-
ficient for hundreds of ap-
plications, only $1.00

Complete Instructions Included

Ash Your Dealer or Write for New^ Free Folder

Craig Scalar Cambinatioa
Complefc.SIf.SO

Projeeto Editors
$27.50— U mm.. $49.50

Craig Senior Rewinds
$4.50 each or S9.00 the pai

CRAIG MOVIE SUPPLY COMPANY

LOS ANGELES SAN FRANCISCO

J/i llltt

brake provides tension and speed control. Smoothness and
ease of operation is expedited by the extra long handle.

$63l Film Kin-O-Lux Company, New York, has just
launched a new movie film, Kin-O-Lux
No. 3 Gold Seal, which is reported to have ratings of Wes-
ton Tungsten 100 and Scheiner Tungsten 29. No outdoor
ratings are given.

It has a super pan emulsion and speed, according to
Kin-O-Lux. Prices include processing.

Phaoslron Case ^ ?ew car-
rying case
has been made available by
the Phaostron Company, Al-
hambra, California, for
their models A and B elec-
tric exposure meters. These
new cases are made of se-
lected heavy leather and are
equipped with a removal
shoulder strap. Unsnapping
of one flap allows meter to
be read easily without removal from the case. Amateurs
interested in either the Phaostron Meter or carrying case
are invited to write direct to manufacturer for further
particulars.

UniverSSlitS Proclaimed by its makers to be a “deluxe
outfit” consisting of stand, special focusing
device and accessory reflectors, is the Britelite Univer-
salite, product of Motion Picture Screen & Accessories
Co., Inc., New York.

Lamphousing of high tensile aluminum alloy accommo-
dates pear-shaped bulbs from No. 4 photoflood to the PS
52-2000 watt movie flood ; specially mounted socket on
focusing device to center filament, and a positive acting
clutch yoke connecting the housing through a swivelling
device to the stand, affording a 360 degree focusing field.

Stand is constructed in three sections, telescoping to a
height of 15 feet with a low of 18 inches. Demountable
base legs have rubber tired, ball-bearing casters. A heavy-
duty T-rating switch is mounted upon the standard to
which is connected a substantial length of rubber covered
cable.

Home Recorder wiicox-Gay

Corpora-
tion, Charlotte, Michigan,
manufacturers of the well-
known line of Recordio
home recorders, announce a
new low-cost portable home
recorder especially adapt-
able to requirements of the
amateur movie maker inter-
ested in making records of
music, sound effects, or documentary to be played in con-
junction with projection of his pictures.

Said to retail for less than $40.00 complete, ready to
use, this new combination radio, phonograph, recorder, is
housed in a convenient case 12l^" x I21/2" x 9%" and fin-
ished in the new airplane luggage type covering. Recorder
plays or cuts records at 78 rpms and records either radio
or through microphone. Other features are high input
microphone, and built-in antenna. Descriptive literature
and prices available by writing the manufacturer.

Gridiron Pictures Veragraph Film Corporation, of 145
West 45th Street, New York City, is
making a special offer of a timely and thrilling film en-

THE REVERE STANDARD MODEL 80

THE NEW REVERE DELUXE MODEL 85

— The sensation of the photographic industry during the past two years, has
been constantly improved to provide even greater value. Among the many
popular features are 500 wait lamps, fast fl.6 lens, double blower cool-
ing system for lamp and film, larger 15 tooth sprockets with "safety roller"
film guides, fully enclosed speedy rewind mechanism with sprocket-geared drive
(no belts in the Revere). COMPLETE WITH LAMP AND LENS $65.00

— designed for those who want the ultimate in convenient operation, this effi-
cient projector has all of the advanced features of the Standard Model 80, plus a
beam threading light (no bulb) and continuous illumination during operating
period, helical gear tilting device tor sensitive control in centering pictures on
screen, duo-shield light diffuser in lamp house practically eliminates ceiling
light without interfering with cooling deluxe lined carrying case with extra room
for reels, lenses and other accessories. COMPLETE WITH LAMP, LENS AND
CARRYING CASE $75.00

REVERE MODEL 88 CAMERA

is also available with Bausch & Lomb fast f3 lens in
removable Universal Focus Mounting. COMPLETE with

Wollensak 12.5mm. t3.5 lens $32.50

COMPLETE with Bausch & Lomb 12.7mm. f 3 lens $37.50

REVERE MODEL 99 TURRET CAMERA

Has in addition to regular Revere features
— such as 5 speeds. Revere Sprocket-con-
trolled takeup, same system as used in pro-
fessional cameras, (no snubbing of film)
Eastman standard spool spindles — an extra
optical viewfinder for Telephoto lenses.
COMPLETE with one Wollensak 12.5mm.
f2.5 lens $65.00

REVERE cameras ARE EASY TO
LOAD AND SIMPLE TO OPERATE.

PERFECT projection of your Colored or Blaek-aiid-
White 8niin. movies, you need the superior illuiuiuatiou
of a Revere 8mni. Projector. Whether you choose the well
known Standard Model 80 or the new DeLuxe IModel 85 you
can he sure that your pictures will he shown with “theater-
quality” steadiness and hrilliance. Modern nianufactnring
facilities and scientific jiroduction methods have made it pos-
sible to jiroduce Revere Projectors, cameras and other mo-
tion picture equipment, with unsurpassed precision and de-
[lendahility at their remarkahly low cost. Ask your dealer to
demonstrate th(‘ Revere Projectors and to show you the many
attractive features of Revere 8mm. Cameras. W rite lor litera-
ture now.

REVERE CAMERA COMPANY* CHICAGO

PHILADELPHIA • KANSAS CITY • MINNEAPOLIS • LOS ANGELES • DALLAS

REVERE CAMERA COMPANY,

Dopt. 12HM, 320 E. 21st St., Chicago, III.

IMcnse send complclc details on Revere 8mn
etiiiipmenl.

Motion Picture

STATK

for Canadian prices, write to Ryerson Film Service,
299 Queen St., IFest, Toronto.

PAGE 6

HOME MOVIES FOR JANUARY

Americans Choice!

A larger "field area" is created by photograph-
ing titles at a 12" distance. This larger area
allows more room tor hand lettering, printing,
drawing, and special effects. Title cards may
also be photographed at 4", 6" and 8" in addi-
tion to the 12" distance. ★★★★ Zoom titles
and superimposed titles are easily made on the
Titleer. ★★★★ Title backgrounds and anima-
tion sets appearing each month in Home Movies
are readily accommodated. ★★★★ Accurate
alignment is assured with a custom-made cam-
era base tor your particular camera, eliminating
all fuss and bother in lining up titles. Bases tor
all popular cameras are interchangeable on the
Titleer. ★★★★ All parts are adjustable on the
Titleer base, making it ideal for table top copy
work and ultra close-up photography. ★★★★
Titleer may be used on any tripod or suspended
in a vertical position. ★★★★ The lighting as-
sembly is easily removed or placed at any posi-
tion on the Titleer base.

Custom camera bases to tit Revere 8, Eastman
Magazine 8, Bell & Howell, Keystone, and all
other popular cameras.

CINE MASTER

TITLEER

NOTE THESE
FEATURES!

LESS LIGHTS WITH LIGHTS

Complete with two auxiliary lenses, celluloid target,
instructions and valuable titling data.

TITLEER PROFESSIONAL ATTACHMENT

With this new attachment it is possible to make Turnover,
Turnabout, Turnaround, Flop Up and Flop Down, Revolv-
ing, Horizontal and Vertical Scroll and Rolling Titles.
Superimposed, Pushout or Wipe Oft Effect Titles, Zoom
combinations and many other professional titles. The Pro-
fessional Attachment is instantly attached to the Cine
Master Titleer.

Professional Attachment

TITLEER
ACCESSORY
KIT NO. 1

Includes an 8" auxiliary lens, set of 25 Titles and Back-
grounds, a translucent screen for rear projection shots and
two sheets of clear celluloid for superimposed titles.*.. __
Complete Kit ^ J V5

At Your Dealer or Write to

HOLLYWOOD CINE PRODUCTS CO.

3221 So. Figueroa Street Los Angeles, Calif.

Jr. m

titled “Two Minutes to Play.” Its star is the past All-
American on the University of Washington football squad,
Herman Brix. It is packed with exciting football scenes,
college spirit and sparkling romance.

They are also featuring a series of six one-reel football
subjects showing the game as it is taught and played.
Coaches from 25 leading colleges collaborated in making
these shorts clearly demonstrate important points for both
players and fan.

Description of these films and further data may be had
by writing directly to Veragraph Film Corporation.

Synchrosound Jhe Presto

Recording
Corporation, 242 West 55th
St., New York City, have
completed a demonstration
film produced in 16mm,
which shows the operation
of Synchrosound, new ap-
paratus for making 8mm or
16mm sound movies.

The film is completely syn-
chronized with disc sound accompaniment and speaks for
itself in demonstrating and describing application of the
new Synchrosound system to home movies.

The film is available for showing to movie clubs and
other groups and application for its use should be made to
Ralph C. Powell, of the above company.

A new, illustrated and detailed instruction book on this
new disc-recording system is off the press and available
for distribution to interested amateurs.

Speed Film Superior Pan film, for reversal, is a
new high speed 16mm film just intro-
duced by DuPont Film Manufacturing Corporation. Ten-
tative speed ratings are 100 to daylight and 80 to mazda
according to the Weston system.

The new film combines fine grain with its high degree
of sensitivity but may be spliced with scenes made on
slower emulsions without unfavorable comparison.

Complete removal of non-halation backing in the process-
ing gives added brilliancy to projected images. List price
includes processing.

Flexon The Flexon Co.,
1910 Belmont
Ave., Chicago, offers a
new compact film proc-
essing outfit for 8mm
and 16mm films trade-
marked “Flexon.” In-
cluded is hard rubber
rack for winding film,
and two containers for
film and processing so-
lutions.

The assembly rack is
made of acid-resistant
hard rubber and forms
a flexible coil to hold the wire steel supports. These sup-
ports are also treated for acid resistance. The rack can be
used for three purposes: assembly, processing, and air
drying of film.

Flexon comes in three sizes to accommodate 25 feet of
8mm or 16mm film, 50 feet 16mm film, and 100 feet 16mm
film, respectively.

RoS6 Farads Audichrome Pictures Corporation, Pasa-
dena, California, have completed arrange-
ments for production of color movies of the famed Tour-
nament of Roses Parade, as this magazine goes to press,

• Continued on Page 4-7

''me Pica d

THE DA-LITE CHALLENGER

Woat PopuLr Scmn

7 he Challenger is the most convenient of all port-
able screens. The screen, case, and tripod are all
in one unit. It is the only screen that can be ad-
justed to the three positions shown here by merely
releasing a spring latch and lifting the extensicjii
rod. The slotted extension support locks automat-
ically in place when extended. There are no thumh
screws to tighten. The Challenger can be set up
anywhere in 15 seconds. Available in 12 sizes.
Irom 30"x 40" to 70"x 94" inclusive. From .S12.50*
up.

MAKE YOUR HOBBY

WITH A

(Reg. U. S. Pat. Off.)

GLASS-BEADED SCREEN

USED AS A HANGING SCREEN

For those who want quality projection at low cost, the
new Triple Duty Da-Lite Screen offers many advantages.
It can be used in three w’ays, as shown here. The screen
(a 30"x 40” size), folding tripod, and special Da-Lite
two-ply support for setting up on a table, are all in-
cluded for only S7.50.*

Your treasured movies and stills, of family, friends or vaca-
tion scenes, will be clearer, brighter, and more thrilling than
ever, when projected onto a Da-Lite Glass-Beaded Screen. On
this screen, colors are more brilliant; all shades are faithfully
reproduced. Color him, being more dense than black and
white, especially needs the stronger light reflecting (jnality of
Da-Lite’s Beaded surface. Ask yonr dealer for a demonstration!
See how much brighter the Da-Lite Beaded Screen makes yonr
pictures! Da-Lite quality is the result of 32 years of leadership
in screen mannfactnre. For perfect projection, choose a Da-
Lite Glass-Beaded Screen! Many styles! Write for literature!

DA-LITE SCREEN COMPANY, INC.

Dept. 1HM, 2723 North Crawford Avenue • Chicago, Illinois

DA-LITE JUNIOR

Da-Lite’s famous
Class-Bcadetl surface
in its most simpli-
fied and economical
mounting. Four .sizes
from 13” X 18" to
30" X 40".

From S2.00* up.

DA-LITE Model B

A map type, hang-
ing screen, with the
screen spring - roller-
mounted in a <lust-
proof case. Twelve
sizes, including
square sizes from
22"x30" up to
63" X 83".

From $7.00* up.

*Prices slightly higher on t'acijic Coast.

PAGE 8

HOME MOVIES FOR JANUARY

<o[pi»

Superior Pan

(REVERSAL)

JOE LORBER

^ New High Speed

All-Purpose Film

Tj^IGHT times faster than
Du Pont Regular Pan and
three times faster than the old
Superior Pan, this new 16mm film
is a "natural” for making home
movies at this time of year.

Outdoors

In Winter, the extra speed of
Superior Pan (reversal) makes up
for the sun’s diminished intensity.
Scenes in slow motion, shadowed
subjects, and shots with side or
back lighting can be fully exposed.

indoors

Bright interiors require no addi-
tional lighting. Where photofloods
are used, their effective range is
greatly increased.

Superior Pan (reversal) projects a
sharp, bright image on your screen.
Shadoivs are well filled ivith detail.
Intermediate tones have a pleasing
gradation. Removal of the non-hala-
tion backing in processing permits
the maximum amount of lighttopass
through the film when projecting.

$622 loo feet including processing

Du Pont Film Manufacturing Corporation
9 Rockefeller Plaza New York, N. Y.

BETTER FILMS (or BETTER PICTURES

Witk ADVANCED

Wine and Champagne

“From Beer to Cham-
pagne” might well be the
title of the success story
chronicling R. B. Clardy’s
rise from amateur to com-
mercial movie producer.

Not so very long ago,
Clardy was making a name
for himself among members
of the Los Angeles Cine
Club, copping prizes in ev-
ery contest held by the club.

Today, Clardy’s pictures
bring him cash instead of
trophies. Among his most
recent commercial produc-
tions is a film on Califor-
nia’s grape and wine indus-
try for a prominent vintner.
The 16mm production, in
color and sound, will be used
to exploit an old and relia-
ble line of wines and cham-
pagnes.

Theatre Newsreel

Mixed programs of home
movies and theatrical films
have proven a profitable in-
novation for a Warsaw, In-
diana, theatre owner. He is
J. R. Boice, owner-manager
of the Strand Theatre. A
dyed-in-the-wool cine fan,
Boice has been shooting
16mm movies of every im-
portant event in and around
his home town ever since
acquiring his camera about
two years ago.

He had an idea his patrons
would like to see these mov-
ies, which often included
themselves as well as the
mayor and other civic lead-
ers. Besides, his Wednesday
and Thursday receipts were
always lowest of the week ;
needed a stimulant. Boice
installed a 750-watt projec-
tor in the theatre projection
booth and screened 300 feet
of movies of the most recent
happenings in Warsaw.

His patrons clamored for
more. Wednesday’s and
Thursday’s receipts went up
to top Saturday’s and Sun-
day’s and paid Boice’s cam-
era and projector invest-
ment in less thamSO days.

“Strand News,” as Boice’s
16mm newsreels are titled,
are a regular feature of his
theatre programs every
week. Cut, edited and ready
for projection is a 400-foot

reel composed of highlights
from all the news events
screened by him during
1940 which will be featured
during his last-week-of-the-
year program.

Cinemechanics

Recently organized in San
Francisco is the Cineme-
chanics Club, composed of
advanced 8mm and 16mm
movie makers whose inter-
ests center in designing and
building gadgets and im-
provements for home movie
equipment.

Board of directors con-
sists of W. T. O’Dougherty,
Ray I. Davis, Robert E. Eas-

• Continued on Page 41

HERE’S HOW!

Many letters hove been re-
ceived from amateurs asking
how the amazing pictures of
the seagulls and crickets
were obtained for 20th Cen-
tury-Fox's picture, "Brigham
Young."

Here is how it was done:
With the Great Salt Lake
close by Salt Lake City, nat-
urally there are great flocks
of seagulls. Also, nearby, are
vast groin fields. 20th Cen-
tury-Fox sent a comera crew
to Utah to record scenes dur-
ing one of these gull "grain-
fests." These included scenes
of the hundreds of gulls in
the air.

The lower portion of these
later scenes was masked off.
Then the camera crew moved
on to Elko, Nevada, where a
cricket plague was in prog-
ress, and with the upper por-
tion of the scene frame
masked off, shot pictures of
the crickets.

Back in Hollywood, these
two scenes were merged to-
gether into one by means of
an optical printer.

For closeups of the octors
where gulls and crickets ap-
peraed in the scene, the gull
and cricket shots were pro-
jected upon a background
screen in the studio with the
actors performing in front
of it.

SALE!

USED 16MM and SMM
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subject to prior sale.

16MM PROJECTORS

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Bell & Howell Filmo-

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Ainpro JS 500 watt 145.00 59 50

Keystone A-72 300 watt.. 55.00 27,50
Keystone A-81 750 watt. 69.50 46.50

Bell & Howell Pilmo 57-A

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Standard Projector 750

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Kodascope E 500 watt ... 65.00 39.50

Bell & Howell Pilmo J

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Bolex 8-16 with 750 watt

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HOME MOVIES FOR JANUARY

HOME MOVIES

Published in Hollywood
JANUARY 1941

E A.RLY in the planning of this — our annual
Beginner’s Issue — we consulted with our Ad-
visory Editors, asking their views on advice most
helpful to the beginning amateur. Each of these
men have many years of movie making behind
them ; rank high in the esteem of their respective
cine clubs; and their timely words may well be
heeded by the man or woman just coming into pos-
session of a home movie camera.

The movie amateur who expects to derive a
maximum or pleasure from filming and screen-
ing home movies must undertake, conscientiously.

fuse. \

^yuiiat

euefu

BEGIIilNER skoJd k

now

some preliminary study of his equipment and of
the simple technique required for its use. As Ad-
visory Editor Burnwood has so aptly stated: “If
one buys a musical instrument, it becomes neces-
sary to take a series of lessons and to spend hours
of practice before he is able to appear before an
audience and acquit himself creditably. The same
holds true when acquiring a home movie camera,
although the preliminary study and practice re-
quired is not so extensive. Nevertheless, close study
and application of simple fundamentals of photog-
raphy are essential if we are to make movies that
will remain interesting indefinitely.”

Proper camera operation, of course, comes first
in making successful movies. But a pleasing home
movie requires even more. It is not complete when,
after eagerly awaiting its return from the process-
ors, it is flashed upon the screen. There is editing
and titling yet to do. None of this is difficult as
will be pointed out in the remarks of our Advisory
Editors which follow. — Editor.

In my opinion, the most important thing for
a beginner to do is to carefully read the instruc-
tion book that was supplied with his camera. After
reading it once, he should read it again and make
notes concerning any points not fully understood.

These should be discussed with a more experi-
enced amateur or with the dealer who sold the
camera.

The beginner should realize that his camera is
a precision-built instrument capable of producing
excellent results if handled in an understanding
manner. All cine cameras — both 8mm and 16mm —
are equipped with an exposure guide, usually in
the form of a metal plate attached to the front or
side of the camera, which indicates the exposure
to be used for a given light condition. The expo-
sure values ai’e indicated in numerals preceded by
the symbol “f/”, for example — f/3.5, f/5.6, f/11,
etc. These correspond with the exposure marks or
“f/” stops engraved on the lens barrel.

If the camera is equipped with a lens in focus-
ing mount instead of a fixed focus lens, then the
focus must be adjusted according to distance of
subject from camera, before any film is exposed
and prior to shooting each scene. A fixed focus
lens is one that is always in focus on subjects from
6 feet to infinity. There are no adjustments to
make. It is fixed permanently to focus this way.
The lens in focusing mount, has a special adjust-
able mounting added that enables moving the lens
in or out of the camera for more critical focusing

o ('nntniurd on Pa(ic2S

• A thorough digest of
the camera instruction
book plus o study of
the camera's features
and working parts will
insure successful mov-
ies for the new cine
camera owner.

A special BEGINNER’S feature

HOME MOVIES FOR JANUARY

C. E. Bell

A uthored by

J. P. Snyder

President, Norfolk Amateur Mome Club

chasing his camera is to become thoroughly ac-
quainted with it by carefully reading the instruc-
tion book that goes with it. He may not be inclined
to do this but failure to do so will prove a great
mistake. Frankly, I feel that most of the things
important from the standpoint of the beginner are
clearly explained in the average camera instruc-
tion book.

IVow let us see what the proper procedure
would be to get a good picture instead of just an-
other roll of film. Probably this would be a simple
record picture and at this stage of the game we
would not bother to any great extent with con-
tinuity. It is well to point out though, that all pic-
tures can have continuity and will be better pic-
tures because of it.

Continuity in movies means to follow in se-
quence, that is, all related shots should follow each
other in their proper order. Therefore, instead of
asking all the members of the family to assemble
in the yard in a group and then break up and each
do something different, all the while the camera is
turning, we would make a shot of the house with

can

• Learn to hold cam-
era steady. It's not
difficult and insures
steady, unwavering
pictures on the screen.
In the position dem-
onstrated above, the
left arm, held firmly
against the body, pro-
vides a solid support
for the camera.

tCOOD MOVIES

mane

V. HERE are so many interesting angles to
the hobby of making home movies that it is rather
difficult to decide which are the most important
phases for the beginner to master. Each home
movie enthusiast probably has different ideas in
this respect. However, to my mind there are cer-
tain fundamentals that should be pointed out to
the beginner which, if followed by him, will cer-
tainly make his first roll of film a completely suc-
cessful movie and repay him for the time spent in
laying a little ground work before shooting his
first pictures.

I am firmly of the belief that a large percentage
of those purchasing movie cameras are prompted
to do so by their desire to have movies of their
children, parents and friend% and of this group a
small percentage will become intensely intrigued
with this fascinating hobby. The “movie bug” will
bite them so hard that in no time at all they will be
doing their utmost to outdo Hollywood !

The first thing the beginner should do after pur-

irom the startl

the children running out and going about their
serious business of playing ; then a shot of Mother
coming out to see how they are getting along. An
automobile drives up and Uncle Fred and Aunt
Sarah and their children get out. Shots of the
arrival, the greeting and the children joining the
children in the yard would be swell. The parents
group together for a chat while the children are
playing, and the arrival of any other friends or
members of the family would be recorded in a
similar “continuity” manner. Any shots of the
activities of the children and parents should then
be followed by shots of the farewell and departure
of the visitors. This would give us a smooth run-
ning movie and still be nothing but a record of the
family and friends.

• Continued on Page 44-

HOME MOVIES FOR JANUARY

PAGE 13

Hom m u$[

Want to make that first movie successful?
Follow the illustrated thumbnail instructions
on this page and you'll make pictures equal-
ing those of seasoned movie amateurs . . .

CHECK exposure and focus
settings for every scene. Set
lens for the established expos-
ure, then for focus — -according
to distance of object from cam-
era. Cameras with fixed or uni-
versal focus lenses require no
focusing adjustment.

DON’T “pan” — don’t shoot
scenery as though camera was
a spray gun. Camera should
not move in making picture —
only objects within the scene.
If you must move camera to
follow an object, do so slowly.

Photos by C. A. Btll

NOTHING makes a movie so
disappointing as unsteadiness
and weaving on the screen.
Steadier pictures are obtained
when camera is mounted on a
tripod. A tilt-pan tripod head
permits locking camera at any
angle; insures smooth pano-
rama action.

ONE, two, three — up to ten
— counts this filmer, allowing
ten seconds to the average
scene. Don’t be stingy with
film. Scenes too short are
worthless — aggravate an audi-
ence. Those too long may easily
be trimmed to proper length.

IMPORTANT is proper thread-
ing of camera which should be
done in subdued light. Unless
camera provides for simple
threading like the one pictured,
be sure to allow ample loops of
film at top and bottom of film
gate.

WITHOUT a tripod, steady
pictures may be insured by
resting camera on fence, tree
stump, or other solid object. In
other instances, hold camera
against side of building, tree,
or telegi-aph pole and smooth
pictures will reward your ef-
forts.

DON’T make all shots from
same position or camera angle.
Alter position of camera fre-
quently — make shots from low
or high positions. And most
important — move in frequently
for closeups. Closeups make
your pictures more intimate.

EVERY scene will be correctly
exposed if you’ll check the ex-
posure chart attached to your
camera and set the lens accord-
ingly. You won’t need an ex-
posure meter right at the start
— especially for ordinary out-
door scenes.

STEADY pictures also may be
obtained with camera held in
hand. Best is the “rifleman’s
stance,” pictured above — left
arm held solidly against body
supports camera and pi-events
body weave. Support is bal-
anced by holding camera firm-
ly against cheek.

WIND camera spring frequent-
ly to insure against camera
stopping in midst of a scene.
Many form habit of winding
spring after every shot. Also
refer frequently to footage me-
ter to insure against unexpect-
edly running out of film.

A special BEGINNER’S feature’

HOME MOVIES FOR JANUARY

/} uthored by
Peter S. Bezek

Chicago Cinema Club

The editor of the “Cine Crat,”
monthly bulletin of the Amateur
Movie Society of Milwaukee, pub-
lished an interesting bit of advice
in the November issue of his paper
which may be reprinted here with
benefit to all movie amateurs. As a
means of prodding amateurs reluc-
tant to perform even the most ele-
mentary of editing chores, he laid
down the following rules :

1. Buy a 200-foot 8mm or a 400-
foot 16mm reel.

2. Select one, two or three un-
edited rolls and remove from the
yellow cartons.

movie . . .

• Most essential im-
plement necessary for
editing is a good film
splicer. Loter, as the
volume of editing in-
creases, a good film
viewer or motion edi-
tor will be found help-
ful. An "action" or
motion viewing device
such os shown in illus-
tration above enables
the amateur to see his
films enlarged and
projected in action.

J HAVE seen roll after roll of film projected
on home movie screens with perfect exposure,
careful composition, generally interesting mate-
rial, and yet not the slightest attention had been
given to editing to bring out the best in these
pictures.

Editing is by far the amateur’s greatest prob-
lem— if problem it is — and one which some of
our best filmers have hesitated to tackle with the
thoroughness that marks the rest of their cine-
matic work.

Even those who have made some effort in edit-
ing have ignored the most elementary of edit-
ing rules, marked by their reluctance to cut out
“fogged ends” and the perforated sections of film
after the roll has been returned by the processing
laboratory.

Out of focus and badly over- or under-exposed
scenes are often retained because they happen to
represent something the filmer wants vaguely to
keep, yet which invariably proves a displeasing
note to those asked to view the picture.

Somehow or other, it seems that all of us at first
have that urge to hang on to every frame of film,
good or bad, exposed in our cameras. There is an
aversion to using the shears. This can scarcely be
applied only to the “other’^rtellow. Most of us are
— or were — guilty when we first started to make
movies. But now that we’ve made our mistakes
and realize the folly of them, the least we can do
is to pass along the results of our experiences to
the new movie amateur.

A special BEGIIINER’S feature

3. Throw the cartons in the waste basket, and
leave them there.

4. Project each film three times and record or
remember contents of each scene.

5. From scene inventory construct continuity.

6. Cut scenes apart and splice together accord-
ing to continuity.

7. Project rearranged film three times, making
notes for further improvement.

8. Make changes noted in item 7, and then show
film to another movie amateur for his reaction and
criticism.

Few amateurs make any real effort to edit their
films until more than one spool of film has been
accumulated. After all, there isn’t much incentive
to cut up a single 50 or 100 foot roll of 16mm film
(or the equivalent in 8mm) and splice it together
again. But the careful amateur, ambitious to make
an intelligent screening of his pictures, will not
only trim the bad frames and the poorly exposed
scenes from his first roll of film, but he’ll splice on
at least a main title to tell his audience in advance
what the picture is about — even though it be noth- |
ing more than a series of intimate shots of the j
baby. That is the first step in editing any home P
movie. _ |

The rules recounted above cover the succeeding
steps and, in the mind of their author, apply to [
those amateurs possessing a number of rolls of j
film which still remain in the boxes in which they
were returned from the processing laboratory. |

• Continued on Page 43

HOME MOVIES FOR JANUARY

PAGE 15

Avthored by
George W. Cushman

/^N interesting discussion took place after one
of the regular meetings of a certain mid-western
cine club recently, and because many amateurs
would no doubt benefit from the essence of that
discussion, it is presented here in as nearly its
exact words as this reporter could remember them.

The program for the evening consisted of a
travel film made by one of the more experienced
cinefilmers of the city and was reputed to be an
excellent travelogue. Much of it was in color, and
many of the scenes were masterpieces in composi-
tion. It was this portion of the film which caused
the first remark — no doubt by a beginner — that
set off the fireworks.

Pausing at the door for a moment as he put on
his coat, he commented to a fellow member stand-
ing nearby, an old-timer at making home movies,
“Very fine film, wasn’t it?”

And back came the perhaps too frank reply,
“Yes, it will be if he ever finishes it.”

To this the beginner responded, “Oh, does he
have some more to add to it?”

“Well, I don’t know about that,” came the an-
swer, “but he ought to add something more if he
wants his film to be a finished production.”

At any of these points the discussion might well
have ended. But either the beginner was getting
curious, or the old-timer to whom he was talking
had something to get off his chest. At any rate,
they continued. “Well, of course I’m quite new at
this movie hobby,” said the beginner, “but to me
it seemed like a fine bunch of pictures. I only wish
I were capable of doing so well.”

“Yes, that’s exactly what it was, a fine bunch of
pictures. But not a smooth running movie. F or in-
stance, do you remember the name of his film?”
“Why, — a — I don’t believe it had a name, or if
it did I’ve forgotten it.”

“You’re right! It didn’t have a name. The least
any filmer can do is give his film a name. Did you
ever see a professional film that didn’t have a
name — a main title? Even the travelogues, the
comedies, everything but the newsreels have a
name of their own. If he had preceded his opening
scene with a name of some kind, wouldn’t you have
been better satisfied?”

“Well, I guess I would. Come to think of it, it did
sort of just start up; there wasn’t any kind of a
beginning,”

“Certainly. An amateur who thinks anything at
all of his films will give each one a name. And now
another thing, if the fellow who took these movies

hadn’t been here tonight to explain each scene as
it went along, how would you have known what
each scene was?”

“You mean you think he should have had some
printing thrown in here and there — titles, as you
call ’em?”

“Don’t you?”

“I thought the talkies had outmoded titles.
Talkies have made titles unnecessary, for the
talkies. But the film we saw tonight wasn’t a talkie.
And that fellow won’t always be present to explain
his film when it’s shown. Then what does the audi-

• Continued on Page 36

• The most popular
titler is the "type-
writer" model, one of
which is illustrated be-
low, and sa called be-
cause it pravides for
using small typewrit-
ten title cards which
are easiest for the
amateur to make. Such
titlers also accommo-
date the title back-
graunds which appear
in HOME MOVIES
each month.

HOME MOVIES FOR JANUARY

Alice Mainthoiv

Authored by
Russell A. Dixon

Pittsburgh Amateur Cinema Club

Movies of children, as with those of any other
subject, are far more appealing and possess last-
ing interest when filmed with a little thought to
“build up.” A single shot of the baby toddling
across the lawn can be much more appealing if we
make a sequence of shots of this action.

For example, we could begin with a closeup of
the child — head and shoulders — as she suddenly
looks away to one side as though attracted by some
object out of scene. (Her attention can be diverted
at the desired moment by another person out of
•camera range.) Then we move back to a medium
shot as the child toddles across the lawn in the
direction of the object. (This is the single shot one
might ordinarily make.) Next, we shoot a medium
closeup as the child approaches the object of her
attention — a lone flower in the garden ; a dozing
cat ; or a dog — and then a closeup as she takes the
object in hand with perhaps an inquisitive expres-
sion on her face.

WouleSofUMM

can

Le inter'edtina y too . . /

Here, in four shots, we tell a brief but complete
story. We have probably used no more film than
might be consumed in shooting the random single
shot. And across our screen will pass a fine study
of the child in action at long, medium, and close
range climaxed by the final closeup.

A good thing for the beginning amateur to re-
member is to use his movie camera as he would
his eyes. When an interesting incident attracts our
attention, we unconsciously shift from the position
of our first observation to a closer view. For ex-

A special BEeiNNER’S Mature

• Closeups capture
childhood antics and
expressions, make your
children's movies
priceless treasures in
years to come. And
they're the spice that
makes such pictures
appealing to those
outside your household
too.

There is no greater continuity for a genuine
home movie than the happy milestones along the
roadway of “growing up.” So many of our most
active movie amateurs began as a proud parent
who purchased a movie camera to make movies of
the “new arrival” in the family. Today, even though
these filmers have advanced to more serious pic-
ture making, producing, in many in-
stances, technical, educational, or com-
mercial pictures, they never fail to take courusy /.
time out to add to the continuity of
precious home movies of their children.

Frequently movies of the children fail
to prove interesting entertainment to
those outside one’s household. Indeed this
can be true if the filmer has used his
camera merely as a memory-aid instead
of a medium of recording interesting
and perhaps never-to-be-repeated child-
hood events. In other woixl^if he fails
to recognize the wide latitude of picture
making possibilities his movie camera
affords, his movies will be drab indeed
compared to those made by the more
imaginative movie maker who builds his
movie shots into sequences as he shoots.

ample, turning a corner, we might observe a fire in
progress down the street. We respond to a natural
urge, and immediately go in the direction of the
fire, getting as close as we can. We observe every-
thing that is going on. Our eyes rest momentarily
on each interesting phase — arrival of the fire ap-
paratus ; the firemen going into action ; the sudden

• Continued on Page 32

Film

HOME MOVIES FOR JANUARY

Authored by
R. E. WORSTELL
General Electric Co.

General Electric Photo

e^inner

• •

ilOMEONE has said, “Light is something
you can’t take pictures without.” It will probably
give humanity a glow of satisfaction if scientists
ever find out what light really is or even agree as
to what they think it is. But we needn’t wait for
this millennium. It isn’t essential at all to know
what light is in order to use it. But we do have to
know some things about how it is used.

Nature’s light — sunlight — is pretty good. How-
ever, it has its limitations. Man-made light ad-
mittedly does not afford the illumination provided
by the sun but it does offer controllability as to its
amount, direction, and color.

At nightfall, or even indoors in the daytime, the
home movie cameraman is on his own so far as
lighting is concerned. What items must he have in
order to make indoor shots ? They are :

1. Light sources (Photoflood lamps).

2. Reflectors.

3. Exposure tables or meter.

4. If married, a patient, tolerant, understanding
spouse.

Photoflood lamps are small, powerful, inexpen-
sive tungsten filament lamps. Physical size of the
No. 1 is about the same as that of a standard 60-
watt lamp, while the No. 2 size has the same physi-
cal dimensions as a 150-watt lamp. The No. 1 lamp
draws 250-watts; the No. 2, 500-watts. Although
short in life, as judged by ordinary house lighting
lamps. Photofloods burn sufficiently long for shoot-
ing hundreds of feet of film.

One of the first questions in the mind of many
beginning amateurs is, “Will the light from a
Photoflood lamp injure a baby’s eyes?” So far as
is known, there is nothing in the radiation from a

light source of this type which is harmful to eyes.

Man’s progeny have for countless centuries been
reared under sunlight which provides ilumination
far in excess of that from Photoflood lamps. The
point to remember is that the baby should be placed
so that it is difficult for him to look directly at a
light source, or to employ some sort of diffuser in
front of the source to reduce its brightness. Also,
that a diffuser absorbs at least fifty per cent of the
light.

Reflectors are important. They collect and re-
direct a maximum amount of light into a useful
zone. With a good reflector at least three times as
much light is directed at the subject as from a bare
lamp. Reflectors for Photoflood lamps are readily

o Continued on Page 40

• A single photoflood
lamp in a reflector will
give adequate lighting
for such scenes as that
of the child and dog
above. As the amateur
progresses in the use
of lighting equipment
he will light this same
scene with two or more
light units or with ihe
aid of a flat reflector
as illustrated in the
lighting diagrams be-
low.

Fig. 1 Fig. 2

HOME MOVIES FOR JANUARY

Authored hy
Arthur Miller, A.S.C.

20th Century-Fox Film Corporation

* To lend an "outdoorsy" atmos-
phere to a closeup about to be
filmed on this setting for 20th Cen-
tury-Fox's current production, "To-
bacco Rood," a single branch of a
tree secured to a metal stand in
center of the stage will throw a
soft shadow of its leaves over the
faces of the characters. The "sun-
light" effect is produced by small
spotlight to be seen in the distance
at left.

Arthur Miller

SHHOmOli u

'tidlpu

to cine pliotoarapLu . . .

• Dromatic emphasis
is given the scene be-
low by casting shadow
of venerable sewing
machine against wall.
A single baby spot in
foreground furnishes
the shadow light for
this scene from "To-
bacco Road."

.N the motion pictures screened in theatres
today, many movie amateurs have been quick to
sense the trend toward greater dramatic lighting
effects which mark the better Hollywood produc-
tions. The practice of casting shadows into a
scene has definitely changed photography of mo-
tion pictures, and alert amateurs, eager to im-
prove their movies with similar effects, have be-
sieged studios for data on this new technique.

Nor is this technique alto-
gether new. Some cinematog-
raphers of the old slient pic-
ture era used it. It became lost
for awhile when the advent of
talkies introduced other prob-
lems to occupy the cinematog-
rapher’s waking hours. Then,
as the use of incandescent
lights began to supplant sun-
light reflectors for boosting
light into exterior scenes, the
shadow technique blossomed
anew. Today it is one of the
principal mediums for achiev-
ing artistic, lighting effects —
or perhaps I should say shad-
ow effects — in interior as well
as exterior sets.

You will probably recall
many recent movies in which
the lacy pattern of leaves.

shadows from a tree outside of the scene,
fell across the setting, probably upon the
faces of the characters. This tends to
break up the monotony of flat lighting
and lends a true, natural effect to the
scene.

Lighting in motion picture photog-
raphy today has developed to a point
where a well-lit scene is no longer good
enough to bring praise or even notice to
the cinematographer. The lighting must
be different ; must add dramatic value to
the scene and consist of effects rather than volume
of light. The shadow of a window frame or of
Venetian blinds suggests bright sunshine outside.
The shadow of a locomotive on the station plat-
form, or of prison bars on a cell floor gives atmos-
pheric punch to such scenes.

Until recently, most shadows observed in scenes
were for practical purposes. Today, nondescript
shadows are cast in sets on walls, across faces, or
anywhere they might add a dramatic effect. Many
exterior scenes are shot inside enclosed studio
stages which make the shadows of trees and
branches logical ; and I believe the pleasing effects
achieved in this manner have done much to elevate
art in motion picture photography.

Arthur Miller

Studio cameramen are forever aiming for
more reality. They may be likened to the old mas-
ters whose paintings hang in the best of art gal-
leries of today. And thanks to the faster films now
available, they are able to obtain niore natural
effects because of their ability to work in shadows
and subdued light.

Think how successful a cameraman, filming a
picture back in 1912, for example, would have been
shooting a closeup in the shade of trees. It just
wasn’t done in those days. The action was kept
right out in the open all of the time wherever the
most sunlight was available. Lighting was flat and
unnatural but acceptable according to the stand-
ards of those days.

Oddly enough the implements necessary for im-
parting natural, artistic effects are readily avail-
able to amateur and professional alike. The impor-
tant thing is to recognize them, or perhaps first —
to recognize the particular effects which lend the
most dramatic values to a scene.

The next time you are in the garden or go pic-
nicking beneath the trees in the park, notice how
the shadows of the leaves and branches cast on the

• Continued on Page 39

{

HOME MOVIES FOR JANUARY

PAGE 19

Reported by
A. V. McCarthy

Weet iLfy6t 100^" R[[L FELlOlUS duly I

i I

I :

DuR congratulations to the Prospect Reel
Fellows Club — new Holyoke, Mass., chapter of
the Reel Fellows and first 100 per cent Reel Fel-
lows club in America !

somewhat clinical fashion, receive criticism, cor-
rection, suggestions for improvement and perhaps
advice as to how the subject might have been oth-
erwise treated.

The first charter — charter number one in the
great national fraternity of movie amateurs — was
recently issued to a group of cine enthusiasts in
Holyoke. As soon as the charter was granted, this
new club, under the leadership of President Ray
Gagnon, its secretary-treasurer, Henry M. Bader,
and Don Cramer, was besieged by Holyoke movie
amateurs for membership. Enthusiasm surpassed
the directors’ expectations. Eight men attended
the club’s first organization meeting ; within three
months, sixteen names were on the membership
roster. More are coming into the club at each
meeting. Likewise, reports are reaching the na-
tional secretary that more 100 per cent Reel Fel-
lows clubs are being formed daily in all sections
of the country.

The personnel of Prospect Reel Fellows Club
reflects a cross section of Holyoke community life.
Its roster lists business and professional men.
Dean of the group is Howard Robinson, who has
been shooting movies for four years. The baby
member, Francis C. Burnett of nearby
Aldenville, took up the hobby two months
ago. The average camera experience of
Prospect Reel Fellows is but a year and
a half.

If the editors of Home Movies had
endeavored to chart a model club, they
could not have improved upon the or-
ganization plan of the Prospect Reel
Fellows. Its slogan is cooperation and
mutual helpfulness. Monthly meetings
are held, at which any member is at lib-
erty to get up and “speak his piece.” At
each session some topic pertaining to
movie equipment is discussed. At the
December meeting, for instance, the
functions of exposure meters was con-
sidered. While the study of technical
matters has proved interesting and in-
formative, the group has been careful
not to permit itself to become too scien-
tific in its discourses. A highlight of
each meeting is the projection period.

Members run off their films and, in

The critiques usually take the form of round-
table discussions of titling technique, lighting,
composition and editing; the comparison of color
and black and white film, the use of filters, lenses
and other accessories and equipment that will in-
sure the motto, “Happy Shooting,” becoming a
truism.

In line with the spirit of good fellowship which
underlies the Reel Fellows movement. Prospect is
planning a movie-making adventure on a “Snow
Train” to the adjacent White and Green Mountain
country and possibly to Dartmouth’s Winter Car-
nival at Hanover, N. H., to film snow sports.
Spring plans call for a series of picture-making
motorcades through the Connecticut River Valley.
A red letter event is to be a club picnic in which
families and friends of the club membership will
participate.

With the Reel Fellows Club lapel button now a
familiar insignia in scores of cities and towns, in-

• Continued on Page 34-

* Only a few months
old, the Prospect Reel
Fellows Club boasts a
membership of 1 6 and
is growing fast. Pic-
tured below are its
present members;
Front row, left to right:
Dr. George A. LaBelle,
Emil E. Haesert, Hen-
ry M. Bader, secretary-
treasurer; Raymond
Gagnon, president;
Howard Robinson, Paul
Brochu and Theodore
Desroches. Back row,
left to right; Ernest
Couture, Casmir Fili-
pak, Daniel S. Aitchi-
son, John B. Nadeau,
Jr., Albert J. McCas-
land, Francis C. Bur-
nett, Lester Bellerose,
John Chliszcyk and
Don Cramer.

HOME MOVIES JANUARY

It was not until after the editors had

• Reproduced above
are enlargement's of
frames from Earl Coch-
ran's 8mm Koda-
chrome picture "Three
Wishes," voted the
Movie of the Month
for January. Below:
Earl Cochran of Colo-
rado Springs, Colo.,
and the Bolex camera
with which he filmed
"Three Wishes."

unanimously voted Earl Cochran’s fine 8mm Koda-
chrome movie, “Three Wishes,” the Movie of the
Month that we learned what an important part
Home Movies magazine had played in its produc-
tion if not its success.

There was, for instance, the trading notice in-
serted by Cochran in the “Swappers” column in
the October 1939 issue of Home Movies that
brought him much-needed scenes of cotton fields
for his picture. And there was the titler Cochran
built from plans published earlier in Home Movies
that enabled him to make the excellent

Knutson Photo

titles for “Three Wishes” which, in addi-
tion to contributing much to the success
of this picture, makes Cochran a con-
tender to be reckoned with for the 1941
Home Movies’ trophy for outstanding
achievement in titling.

A bare 125 feet in length, “Three
Wishes” is another one of those good
things that comes in small packages. It
is an excellent example of a delightful
and original fantasjTtold briefly through
clever camera technique.

The story concerns a housewife who
attends an auction, buys an antique silver
coffee pot, and enjoys a brief but dis-
appointing interlude of magic transfor-

mation. After the fashion of Aladdin, she rubs the
coffee pot and a genie appears to grant her three
wishes.

But before we relate the fine points of the story,
a word or two about the opening titles — as fine a
professional job of title-making as one would ex-
pect to see in a Hollywood production.

Fading in on the screen is a pictorial back-
ground of the opening series of titles — a board
fence nicely framed by overhanging boughs, etc.
From a paint bucket on the ground nearby emerges
a brush, motivated through excellent single frame
photography, and paints the words “Helen and
Earl Cochran” upon the fence. This lettering wipes
off and the brush continues to paint “Present,”
which in turn is lap-dissolved into the main title,
“Three Wishes.” This is followed by credit titles
for phtography and recording, and an apology to
mythical Aladdin, whose magic lamp furnished
the inspiration for this picture.

The first scene depicts the housewife, played by
Mrs. Cochran, entering an auction house. Inside,
the auctioneer, played by the producer, is asking
bids on an antique silver coffee pot. The housewife
is successful in the bidding and takes the prized
coffee pot home with her.

While polishing the new possession in her
kitchen, the image of a genie magically appears

• Coiitinued on Page 38

I’VE just witnessed a screening of what is
probably the most sensational movie ever made
available on 8mm and 16mm film! I saw scenes of
two of the year’s most spectacular events — scenes
that far surpass any that appeared in theatre
newsreels following occurrence of the events. And
I realize more than ever what a boon it is for home
movie enthusiasts now to be able to get swell
movies of such events just as theatres do.

When a catastrophe like collapse of the Tacoma
Bridge occurs, we just naturally wish we’d been
there to make movies of it. Or when we hear of

est of the public in general, and of home-movie

projector owners in particular, in the eerie col- By Jack Irwin

lapse of the Tacoma Narrows Bridge, Castle Films
jumped into action to make this unbelievable bat-
tle of Nature against man’s handiwork available
to all home movie collectors.

This would have seemed enough to the average
person.

such sensational surprises of war as the battle of
Oran, we realize - — horrible and all as war may be
— occurring every day are dramatic events that
would make thrilling movies for our home film
library, perhaps to become priceless documents in
years to come.

Fate usually arranges things so accidents and
catastrophes occur when no cameras are around.
In this she does not always bat 100 per cent, as
witness the movies made of the famed Hindenburg
disaster and, of course, of the two events already
referred to — Tacoma Bridge Collapse and the
Battle of Oran which Castle Films obtained for
their special new home movie release, “Super
Thrills in the News,” just screened for me.

When movie shots of such events are made avail-
able in 8mm and 16mm and in sound and silent
editions, then all restraint can be thrown aside and
the availability of films of such unusual nature can
truthfully be marked down as an accomplishment
of the utmost benefit to every owner of home pro-
jectors and particularly to the collector of rare
movie films.

Grasping the significance and the surging inter-

But when the provisional government at Vichy,
France, released from censorship movie footage
that was taken during the great naval battle be-
tween British and French fleets at Oran, Algeria,
Castle Films double-jumped into action again.

The most powerful units of France’s naval
strength are shown riding the peaceful waters of
the harbor of Oran, Algeria. Petain has just sur-
rendered France to the Nazis. Supposedly, every-
thing French goes with it, including the fleet.
Admiral Gonsoul lies expectant of orders in this
Mediterranean port.

Eleven days after the armistice signing at
Compiegne, Britain decides that the fleet of her
former ally must not fall into the hands of the
Axis partners.

“Super Thrills in the News” shows French
crews tense as warships of the British fleet appear
off Oran. A cutter brings an officer from Admiral
Somerville, commanding Britain’s ships. The offi-
cer hands an ultimatum to Admiral Gensoul, ask-
ing that the French join with the British, scuttle

• Pictures above, re-
produced from frames
of the Castle Film,
"Super Thrills in the
News," show vividly
the collapse of the
Tacoma Bridge. The
movie depicts the event
from beginning to end
in such startling scenes
os to leave one breath-
less. Below ore repro-
ductions of scenes
from sequence of some
film, picturing foil of
Oran. Highlights of the
film ore thrilling shots
of actual combat be-
tween warships that
reduced France's once
great fleet to junk.

» Contuiurd on Page 45

Fig. 1 .

HOME MOVIES FOR JANUARY

Fig. 2.

e These photos are
enlarged 16mm repro-
ductions and illustrate
the wipe-off effects
that may be made with
the "Glorified 1 6."
Highly professional in
quality, these wipe-
offs parallel those
mode by the profes-
sional on 35mm film
with far more compli-
cated equipment.

In conducting this series of articles on the
“Gloritied 16,” it would be hardly fair not to in-
clude a brief synoptic outline of what can be ac-
complished with the converted camera.

With construction and painting of the added
equipment completed, the owner should be fairly
well acquainted with workings of the adapted
parts.

Authored by
Arthur H. Hart

The top counter on the effects box (shown at
(A) in Fig. 3 on this page) is used for keeping
track of the main footage on the film. In order that
it may be possible to rerun a film through the cam-

Fig. 3.

Fig. 4.

era for super-imposing, etc., it becomes necessary
that some standard of threading the film be estab-
lished.

The simplest method I found was to thread the
camera in the usual manner allowing seven per-
foration holes visible in the top loop and six holes
in the bottom, with the end of the film just touch-
ing the bottom takeup spool shaft.

S IX or eight inches of film should be run off so
that the film may be threaded on the bottom spool.
With this done the top counter (A) is set to
0000.0. Release a few frames to see that all goes
well, replace the door and the film may then be
run up to the point of where pictures are ready to
be taken. When using Kodachrome, this point is
some 5.8 feet into the film and for a safety factor
it might be well to consider 6 feet as the starting
point.

However, if it is desired to check the actual
starting point, the lens should be removed from
the camera and the film observed for the serial
number which is punched through it. Exposure of
film prior to this point is useless as it is trimmed
off by the processing laboratory.

To make a wipe-off place the fan bracket (B) on
the effects box, then attach the fan (C) to the end
of the shaft. See that the advance sleeve (D) on
the fan shaft is pulled back towards the camera.
This places the fan in a retarted position.

The fan blade is then adjusted so that it hangs
straight down. When the point is reached to start
the wipe, the effects shaft button (E) on the cam-
era side is quickly pressed in. This engages the
gears in the effects box (F) so that the wipe-off
fan starts to rotate. As the fan reaches the zenith,
or top, stop the camera; push the advance sleeve
out away from the camera so that the fan is ad-
vanced. Attach the hand crank (G) , cover the lens
and wind the film backwards and at the same time
taking up the slack in the top film chamber with
the backwind knob, until the fan is once again up-
right.

As the next scene is started the fan will rotate
gradually opening the full scene. As the fan rotates
free from the lens field, press the effects shaft
from the front side. (See H.) This stops the fan
from further movement, and if it is desired to end
this scene with a wipe, the advance sleeve (D) is
quickly pulled back so that the fan is once more in
starting position. When ready to start the wipe
the whole procedure is repeated.

To explain the operation of a wipe is very
simple. The fan coming up and being a dead black
does not allow exposure of the film. And as it
moves upward, it chops off a portion of the scene
being taken a frame at a time until the whole scene
has been wiped-off or obliterated.

By advancing the fan blade, the portion of the
film already exposed is protected from double ex-
posure, and the portion previously “blacked out”
becomes exposed. The result, a perfect synchro-
nized lap between the two pictures taken with a
thin line dividing them as shown in Figs. 1 and 2.

It must be kept in mind that the type of fan de-
scribed is by no means the only kind that may be
used.

Fans with different shaped edges, such as curved,

• Continued on Page 42

ree pictured that

In the reviews of readers’ films that appear
each month in Home Movies may be found many
ideas that can be adopted by other filmers. Each
picture selected for published review is chosen
with this idea in mind — to benefit other amateurs.
Frequently in these reviews, errors are pointed out
with suggestions for their correction, which serve
to guide other amateurs with similar problems.

Following are reviews of three films recently
screened by the editor. All present good filming
ideas worthy of consideration by amateurs seek-
ing new suggestions for home movies.

"A BEASTLY DREAM" ★★

300 Ft. 8mm — by M, D. H.

Continuity : The continuity of this picture in-
volved a swell running gag idea that might well
be applied to any movie of an outing, picnic, or
visit to a zoo. It consisted of a doll — or rather a
puppet — manipulated in various scenes in a man-
ner that tied together a number of otherwise gen-
[ eral scenes made by this filmer on a visit to a public
j park and zoo.

The story opens with father reading the funny
paper. At the moment he’s concentrating on Pug
of the “Boots” comic strip. There’s a closeup of
one of the cartoons as one character makes the re-
mark that a certain party couldn’t hunt — couldn’t
I even shoot an animal in the zoo.

! At this point father dozes off, and as he slum-
I bers he dreams of the characters in the comic strip.

} The character. Pug, comes to life in the form of
j the puppet, and thereafter is seen frequently as
1 father and daughter visit the zoo. The puppet

I frolics about the windshield and radiator of the
I car en route to the zoo. After they arrive, the pup-
j pet climbs fences, points out the text of signs about
. the zoo, and otherwise puts in a comical and frolic-
some appearance frequently enough throughout
the picture to add a jovial note and heighten inter-
est in the picture. All of this was good treatment
for this type of movie.

Editing : The material used was well edited. The
only distracting note was in those scenes where
the daughter is shown manipulating the doll. This
' hardly fits in with the dream idea. There were also

rate

some scenes of other people, not concerned with
the theme as represented at the beginning of the
story, that should have been eliminated and saved
for another picture.

Titling: Generally speaking, all titles were well
exposed and nicely centered on the title cards.

Suggestions for Improvement : In our opinion,
the story would be greatly strengthened had the
little girl dreamed about the doll instead of the
father. It would seem more logical. Or, the dream
idea could have been dropped entirely and instead,
the picture could open with the little girl spanking
the puppet-doll and putting her to bed. Then as
the girl left the doll alone, the doll would get out
of bed and scamper away — filmed in stop motion.
A title inserted here would tell that the doll was
running away from home, and thereafter it could
be shown frolicking about the car, and later fol-
lowing the little girl and her father about the zoo.

Equipment: Bell & Howell 8mm turret camera;
i^-inch f/2.5 lens; 1-inch f/1.5 lens, Ifh-inch f/3.5
lens ; exposure meter ; tripod ; and unipod.

"THE DAY'S WORK" ★★

200 Ft. 8mm — By M. A. B.

Continuity : A very complete and nicely worked
out picture conceived and produced by a woman
superintendent of a hospital. In the main it is a
record of a day in a hospital as lived by the aver-
age nurse.

The story opens with a nurse entering the hos-
pital to begin her day’s work. There are scenes of
unpacking clothes; then the nurse sits down at a
desk and writes a letter to her mother, telling she
has just obtained work at the hospital and that she
does not expect the work to be very exciting. Pres-
ently there is a call for her to go on duty.

Thereafter the work she does and the experi-
ences she goes through are pictured by this cine-
filmer with a deft camera hand. Our only criticism
is that there should have been more closeups in a
picture of this kind.

Some of the interesting scenes were :

Preparation of patient and administration of
blood transfusion.

The group of pals which follow a boy to the hos-

• Conihtufd on Page 30

Revietvs by
The Editors

• Pictured above are
enlargements from; 1,
"Safe and Easy Skat-
ing/' an 8mm picture;
2, "The Day's Work,"
also filmed in 8mm;
and 3 , "A Beastly
Dream," an 8mm fan-
tasy filmed in Koda-
chrome.

S E C T I O N

o Orbette A. Homer, Dallas
Technical High School instruc-
tor, has on his own initiative
and efforts completed a fi!m
treatment of the activities and
functions of the Technicol High
School, Dollas, Texas. The me-
dium of 16mm movies proved
an ideal medium for selling the
high school to its constituents.

scnom deiid cLctiuitieS

16mm movied

By Ira Lancelot, Jr.

• •

*J*HAT educational subjects, filmed
and presented via home movie equip-
ment to school audiences, are becoming
one of the most important factors in use
in “selling” lessons and messages to stu-
dents is well known to most of the edu-
cational fraternity in the United States.
That the same technique and the same
equipment can be actively used to “sell”
the school itself and its activities to the
public, the people who support it, is an-
other facet to the same jewel which has
been developed and put to good use by
Orbette A. Homer, versatile instructor
in Dallas Technical High School, Dallas,
Texas, who has, on his own initiative
and by his own efforts, completed a com-
plete film treatment of the activities and
functions of the Technical High School
itself, to the considerable furtherance of

the ends for which the institution exists.

The Technical High School, a voca-
tional unit in Dallas’ public school sys-
tem, participates along with other
schools in the Dallas Department of Vis-
ual Education, which supplies visual
aids on requisition to the various schools
for use in conjunction with their scholas-
tic subjects. As an instructor and user
of the visual aids supplied by the sys-
tem, Homer was aware of the efficiency
with which visual apparatus puts over
and drives home a message. At the same
time he was keenly aware that few peo-
ple knew^ what the Technical High School
actually was, what it taught and what
opportunities it afforded. He hit upon
the idea of “selling” the high school to
its constituents in the same manner that
the professional visual aids sell studies

HOME MOVIES FOR JANUARY

and knowledge to pupils.

“Even people whose children were at-
tending the school knew exactly what
went on there,” comments Homer, “and
in present-day conditions the importance
of the work done in a vocational school
is growing rapidly. The vocational
school is an important link between the
public and the nation’s defense program.
It was not practical to attempt to bring
outsiders in to view the school and its
classes in operation, yet we felt that a
better knowledge and understanding of
our work would result in more apprecia-
tion and a more wholesome relationship
between parents, teachers and pupils,
between the school and the public. The
medium of movies seemed the ideal, and
indeed the only bridge for the gap.”

Though the school is now contem-
plating an expansion, whereunder there
will be a department of photography,
taught by Homer, under the present set-
up there is no department nor budget
for such a project as that Homer under-
took. Accordingly, the job was done
with his own equipment, at his expense,
and filmed, edited, spliced and captioned
entirely by him. Homer used a 16mm
Cine-Kodak, Model B, in filming the
school’s activities, with an f/1.9 lens for
close work, and a Kodak anastigmat
f/4.5.45 telescopic lens for distance
work. For the lighting of difficult class-
room scenes he used lig’iting equipment
pieced together by himself, totaling up
to 30,000 watts. Incidentally, though the
school does own one projector and stere-
opticon, Homer has donated his own
equipment for its use in applving the
visual aids from the Visual Education
De’^artment.

The filming was begun without sce-
nario. Homer’s motif being to “show
outsiders what goes on in Technical
High School,” and to that end he simply
routed himself through the school to em-
brace every worth-while activity, timing
his sequences so that every class and
activity was presented in actual every-
day operation, and in activities best cal-
culated to illustrate the aims of the
school and its methods of accomplishing
them. He had a four-fold aim to fulfill
in each sequence: to present the school
and its facilities, to show what it was
doing, how it went about it. and some-
thing of what it was accomplishing.

Homer proceeded with his filming
more or less at random, taking each class
at a time when its activities best repre-
sented a cross section of its true aims
and operation. In his sequences he cov-
ered classes in Commercial Art, Home
Economics, Domestic Science, Design
and Fashioning, General Mathematics,
Diversified Occupations, Machine Shop,
General Mechanics, Auto Shop, Foun-
dry, Electric Shop, Welding Shop, Wood
Shop, Printing Shop, Typing, Journal-

HOME MOVIES FOR JANUARY

ism, Student Employment Bureau, Sen-
ior Councillor, Part-time Student Train-
ing Program for employment. Drafting,
Physical Education, First Aid, Dramat-
ics and Plays. All scenes were filmed in
actual class procedure, in a continuity
designed to show not only the academic
side of the school’s instruction but the
activities which correllated the academic
work and which rounded out the stu-
dents’ education in making them capa-
ble of applying their technical training
in a practical manner.

With all sequences shot and processed,
Homer worked many hours at the edit-
ing and splicing, making and inserting
the captions himself, finally completing
a film consisting of two 400-foot reels,
with a showing time of some twenty-
four minutes. It then remained for him
to merchandise the film and secure an
outlet for the ideas he had captured on
the film.

Soon an opportunity presented itself
for him to suggest the film as a special
feature for a Parent-Teacher Associa-
tion meeting ; the showing was arranged
and, with that first showing, the success
of the proiect was launched. The imme-
diate result was a deluge of requests
from other bodies and other schools to
show the film, which has since been
shown to such a widely diversified range
of organizations as the Dads’ Club, other
P.-T. A. sections, special church pro-
grams, Kiwanis Club, Merchants’ Ex-
change, Dallas Readers’ Club, Rotary
Club, and private luncheon clubs, as well
as public school assemblies. The High-

land Park Knox Theatre learned of the
film and arranged a showing, which had
to be repeated to satisfy the residents’
interest. The visual education section at
Southern Methodist University request-
ed a showing for its vocational students.

The results so far have been every-
thing Homer had hoped for, manifested
in hundreds of telephone calls, letters,
both within the city and from other
cities, publicity in both Dallas news-
papers, recognition in the Victor News
Reel of Davenport, Iowa, and compli-
ments from almost the entire educa-
tional system of Dallas. Not only was
interest and sympathy in the Technical
High School immediately st’.’engthened,
but the visual education activities in all
schools showed an immediate increase.
Among one audience were two Holly-
wood film technicians, who compliment-
ed Homer’s work on both subject matter
and technical excellence.

The project is being actively continued
by Homer, who is adding film sequences
and slides to illustrate specialized types
of work done in the school. He plans to
make available a special reel on each
speciali'^ed type of work, as well as the
general film showing all the activities in
the school.

In addition to being instructor in
mathematics and foundry in the school,
Homer will take over the photography
class under the enlarged facilities, and
has made numerous slides of safety fac-
tors and shop practice for teaching other
vocational subjects.

Veu, 3iL RJe

eaded

Power Behind the Nation

Completion of a dramatic new color
and sound motion picture, “The Power
Behind the Nation,” which tells the story
of bituminous coal, was announced re-
cently by the Norfolk & Western Rail-
way Company.

The movie depicts the importance of
the bituminous coal industry to the eco-
nomic life of the nation, and shows the
various phases of coal production. Scenes
in full color picture the origin of coal,
mining, processing, transportation, dis-
tribution, uses as a fuel and as the source
of countless valuable by-products.

In production eight months, the 16mm
Kodachrome film, which runs approxi-
mately 38 minutes, has been narrated by
Bob Trout, well-known Columbia Broad-
casting System news commentator.

A special cameraman, employed by the
N.&W., traveled more than 15,000 miles
in order to get accurate shots of mines,
tipples, trains, boats, factories and homes
— everything to portray bituminous coal

as “The Power Behind the Nation.” It is
understood that this is the fii'st time
color moving pictures have ever been
taken in the interior of a coal mine,
thousands of feet beneath the surface of
the earth.

Elements of Photography

This is strictly an instructional film
which shows in detail all the steps in-
volved in taking, developing and print-
ing a good picture. The pi'ocedure used
in the film is based upon the training-
methods of the Signal Corps of the
Army.

With the widespread interest in occu-
pational training for national defense,
Walter 0. Gutlohn, Inc., stresses the im-
portance of their series of vocational
motion pictures on aviation mechanics.
The first two films in this series are
ready for release and have been made
with the cooperation of the Roosevelt
Aviation School, Long Island, N. Y., an
accredited CAA training school. Two

iaucamHal

S E C T I o N ^

reels, 16mm silent, produced and dis-
tributed by Walter 0. Gutlohn, Inc., New
York City.

Handicraft Teaching Films

A series of six new instructional films
dealing with handicraft arts is an-
nounced for release by Garrison Film
Distributors, Inc. The films have been
produced in cooperation with the Uni-
versal School of Handicrafts under the
supervision of Edward T. Hall, director
of the school.

Arthur Browning, writer for photo-
graphic publications, and independent
film director and producer, directed this
series which is keyed for adult and ele-
mentary school use. The six one-reel
films are :

Elementary Manual Training.

Marionettes, Construction and Manip-
ulation.

Elementary Bookbinding.

Loom Weaving.

Decorative IMetal Work.

Leather Work.

Handicraft manuals, published by the
Universal School of Handicrafts, will be
available for use with the films.

Journalism

Opening with dramatic scenes depict-
ing the varied life of a ne^vspaper re-
porter, this film goes on to describe and
display his work in vai'ious specialized
capacities such as societv, sports, music
and drama, finance, politics.

The educational preparation for jour-
nalism is carefully presented, pointing
out that the journalist’s activities touch
upon all phases of society. He needs
basic training in psychology, sociology,
political science, history, literature, eco-
nomics, basic law, and writing. Pre-ex-
perience can be gained in the English,
Social Science, and Journalism depart-
ments of his school, helping him to de-
cide whether this is to be his chosen
field. 400 feet, 16mm. distributed by
Vocational Guidance Films, Inc., Des
Moines, Iowa.

Eastman Teaching Films

Three new 16mm silent films are an-
nounced by the Teaching Films Division
of the Eastman Kodak Company, Roch-
ester, N. Y. Titles are :

“Yugoslavia” — The simple peasant
life on a small Yugoslavian farm; the
growing of vegetables and flowers for
commercial seed, and threshing of the
seeds; hog raising; rug weaving; use of
modern machinery on larger farms ; an
elementarv school ; Belgrade, the capi-
tal, including waterfront scenes, the old
fort, modern city with its market
place, street scenes, railway depot, and
public buiMings. One reel (approximate-
ly 400 feet), 16mm black-and-white.

“Bulgaria” — Urban and rural life in
Bulgaria. Characteristic street scenes,

• Continued on Page 45

PAGE 26

HOME MOVIES FOR JANUARY

Background Prop

I found it difficult to get pictures of
small children under photofloods and the
side of the house offered a very un-
attractive background for such pictures
filmed out-of-doors. So, I made the val-
uable prop illustrated in the first of the
two photos above. It consists of a panel
of plywood painted white on one side
and a dark color on the other. It is suf-
ficiently large to place behind a group of
two people for medium closeup shots
such as that of the mother and baby
shown in the second photo.

Clifford L. Hedherg.

Moving Backgrounds

If a moving or realistic background is
desired for titles, place black gummed
title letters on windshield or side win-
dow of your automobile and photograph
title and scene as car is in motion. A
fairly light background or scene should
be selected.

In a similar way a novel rolling end
title may be filmed by placing thin gum-
med letters spelling “The End” on the
glass of one of the car windows. Roll
down the window, then with camera
mounted within the car, shoot the final
scene of your movie and gradually wind
up the window revealing the words “The
End.”

— Earl W. Dihle.

Winding Back Film

If yours is one of the new Model 90
Cine Kodak Magaziiie Eights, you can
film trick effects that require backwind-

C I N E B U G S !

* If you hove on idea for o gadget, trick,
or shortcut in filming, titling, editing or
processing home movies, pass it on to your
fellow Cinebugs through these columns. If
your idea is published you will receive two
reels for your efforts. Extraordinary ideas
will net you a roll of film.

Ideas not published will be held for future
publication unless they duplicate ideas pre-
viously received. Endeavor also to send along
photos or rough sketcher illustrating your
suggestions. There is no limit to number of
suggestions you may submit.

Important: When submitting ideas, be
sure to mention whether equipment you use
is 8mm or 1 6mm, enabling us to promptly
forward awards adaptable to your use.

THE EHE

ing without having a backwind built into
your camera. To wind back the film, all
that is necessary is to stop camera, take
out the magazine, turn it over and re-
place it. With the lens capped, let the
camera run until the desired footage is
wound back. This may be determined
by watching the footage meter.

Then replace film magazine in camera
right side up; re-set footage meter by
counting back tivice the number of feet
or inches consumed in the windback;
and proceed with filming.

— E. Harold Ey.

Fade-In Control

For those who use the lens iris for
making fades, here is a gadget that may
be fitted over the lens ring to provide
leverage for the “fading” operation and
at the same time serve as a visual guide
to the diaphragm opening. It is appli-
cable to Keystone, Bell & Howell, Uni-
vex, and Revere 8mm cameras, and to
Keystone, Victor, and Bell & Howell
16mm cameras.

The gadget consists of a piece of clear
celluloid fashioned as shown in the ac-
companying sketch. It provides a tip for
finger control of the lens iris; an open-
ing and collar for attaching to the lens ;
and corresponding f/ value marks etched
or inked on the surface of the celluloid
in such a position that they will appear
before the front viewfinder element as
each f/ stop position is reached on the
lens. The numerals representing the f/
stops should be etched or inked in re-
verse so they will appear in proper posi-
tion when seen through the viewfinder.

Chief value is in fading-in. Starting
camera with lens closed down at f/16 or
beyoniRariid with exposure for the scene
established at f/8 for example, the gad-
get together with the lens would be
moved until the figure f/8 appeared in
the viewfinder.

— Don M unday.

RIMEHAE

Camera Support

To secure a steadier support for my
camera when hand held, I provided a
screw in the side of my camera carrying
case which enables me to attach camera
to same as shown in the accompanying
photo. The carrying case supported by
hand and against the body holds the
camera steadier than when held by hand
and makes possible smoother panning
action. A x 20-inch thumbscrew was
thrust through a quarter-inch hole bored
through side of the case.

— D. Doncaster.

Beer Can Film Viewer

Want to make a simple viewing device
for your movie films? Get an old beer
can — the type that takes a crown cap
• — and remove the conical top carefully
with a can opener. Next remove bottom
of the can and discard it. From soft pine
or plywood, fashion a disc as shown in
the sketch at “A,” providing a track for
the film and an opening in the center the
same size as a single frame of your
movie film.

Assemble wooden disc and conical top
over can, as shown, and mount can on
a wooden base on which has been fitted
a small porcelain candelabra base and a
7-watt lamp.

Into the opening of the conical top, fit
the lens from your projector, first wrap-
ping it with tape or enlarging the open-

HOME MOVIES FOR JANUARY

PAGE 27

C I n WO

ing as required to provide a smooth slid-
ing fit.

Thread film through slot in wooden
disc and focus lens upon it by moving it
in or out as required. The film slot or
track should be lined with soft cloth or
felt to prevent scratching film. Hinging
base of viewer to editing board will en-
able folding viewer back out of the way,
facilitating easier storage.

— Russell W. Bobzin.

Background for Miniatures

The accompanying drawing illustrates
a simple method of faking a genuine
cloudy sky background for miniature or
model scenes by merely placing a large
mirror at an angle behind the set so that
it will reflect the sky to the camera lens.
The mirror should be of good quality,
free of “ripples.”

• — Fredric A. Heck.

Projection Aid

In the home where it is most conven-
ient to set up the projector on a table
(card table, end table, etc.) , it frequently
happens the audience is so large, heads
interfere with projection. To overcome
this, I built the apparatus illustrated
above. It consists of a framework that
holds two mirrors in front of the pro-
jector. The mirrors are set at 45° angles
and are adjustable. The lower mirror

R K $ H 0 P

catches the beam from the projection
lens and reflects it to the larger upper
mirror which, in turn, reflects it to-
ward the screen above the heads of the
audience.

The apparatus may be constructed so
it can be easily knocked down and car-
ried with the projector — a convenience
where frequent showings are made out-
side of the home. The framework is
made of 1)4- x 1 14-inch pine. The mir-
rors are supported on doweling. As the
apparatus must be custom-built for each
make of projector, exact dimensions can-
not be given here.

— Kurt IV ollncr.

Takes Larger Reels

Owners of Keystone Model L-8 8mm
projectors desiring to use the larger
300-foot projection reels may do so by
removing the pilot light and pilot light
housing.

— Leo Schaab.

Ironing Board Tiller

An ordinary ironing board — the kind
that may be folded up and tucked away
in the broom closet — makes an excellent
base for a home titler. The sketch shows
the additional features necessary to con-
vert such a board to a titler that will
produce zoom effects and others, depend-
ing to what le:igth the individual ama-
teur may go in constructing the title
board or title card holder. The sketch
shows a simple flat title board which is
hinged at the base to permit it to be
folded flat when titler is to be stored
away. This may be improved by cutting
out the center and inserting a movable
board on pinion hinges which will en-
able user to make turn-around or flop-
over titles.

The camera mount is constructed from
wood, as shown, and lined on the bottom
with felt to facilitate easy sliding be-

tricLd and
short cuts contributed

hi^ Cdinehk

tween the tracks when making zoom
titles. Camera is centered by means of
the title centering guides which have
been published in recent issues of Home
Movies for all 8mm and 16mm cameras.

The tracks, between which the camera
and base slide, are calibrated in inches
so that the camera may be readily set at
the desired distance from title card. The
bottom block of the camera base, con-
structed' of 2-inch stock, is sufficiently
heavy to prevent undue movement of
camera between the tracks, making any
locking device unnecessary.

— P. F. Nelson.

Editing Butfit

The accompanying photo shows an in-
expensive editing and splicing outfit any
beginner may construct. All the appa-
ratus is mounted on a baseboard which
is secured to the edge of my workbench
by the hinges “B.” The hinge pins are
readily removable, permitting removal
of the editing board when not in use.

A tin can “C” serves as a lamphouse.

o Continued on Page 46

PAGE 28

HOME MOVIES FOR JANUARY

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• • •

• Continued from Page 11

and usually permits making
closeups as near as three
feet from the camera.

— George Burnaoood.

Most people today are
familiar with the use of
still or snap shot cameras.
But when they take a cine
camera in hand with its nar-
row lens angle, they are in-
clined to wave it around to
cover the subject in a man-
ner mindful of a spray
painter at work. There is an
irresistible temptation to
panoram and the net result
is terrible confusion on the
screen.

Cine cameras are intend-
ed to record action not to
lend action to a scene. The
first “don’t” for the begin-
ner therefore is not to move
the camera from left to
right, or from right to left ;
nor up and down vertically
while the film is in motion
in the camera. Hold camera
firmly in your hands, allow-
ing about 10 seconds for
filming the scene ; then stop
the camera and move it to
take in more of the same
scene, if necessary, and
start the camera again.

Those having difficulty
holding a camera steady,
should place the camera on
some solid object, a wall,
tree stump, or fence. Hold-
ing it firmly against a tree
or side of a building will
give equally good results.
Later, as one progresses,
the purchase and use of a
tripod will make all of this
unnecessary.

Boiled down to a set of
rules, my advice for the be-
ginning amateur is as fol-
lows :

1. Follow your camera
manual carefully.

2. Use a tripod whenever
possible.

3. Introduce new subjects
with long shots, then stick
to closeups for balance of
scenes.

4. Study scene carefully

before shooting. Is compo-
sition good?

5. Is the subject one that
others will enjoy seeing or
is it a waste of film ?

6. Check exposure, focus-
ing (if any), and shutter
speed; remove lens cap;

make sure motor spring is
wound.

7. Make scene sufficiently
long. An over lengthy scene
may be shortened. But a
short scene cannot be re-
paired.

— C. 0. Rountree.

If the lens of your
new camera is in focusing
mount, keep it set at the
focus point indicated in red
which is the universal focus
point — usually about 25
feet. Change the focus only
when taking a picture at ex-

MEXT MOXTH

You advanced amateurs
who politely stood by while
we gave the "beginners"
their inning this month will
be rewarded in the February
issue.

Next month HOME MOV-
IES brings you a foscinating
account of an ambitious girl
who ran around in pigtails
with her brother's movie
camera shooting airplanes,
later to graduate to "big
time," supervising 16mm
productions for on Eastern
film producer.

Look for Florence John-
ston's success story in the
February number.

★ ★

You'll get some corking
good ideas, too, from Gene
Milford's article on titling
silent pictures. Today one of
Hollywood's top flight film
editors. Gene cut and titled
films in the old silent picture
days when good titles meant
so much to a picture's suc-
cess. His article will contain
valuable tips on editing and
placement of titles in silent
home movies for best possi-
ble effect.

treme close range or at
great distance.

Frequently your camera
will be in the case when
suddenly something of in-
terest appears you want to
film. If you take out your
camera in a hurry and start
shooting, it is just likely the
lens will be set for shooting
at six feet — the setting used
in the last shot you made
the week before. The result
will be a badly out of focus
picture.

Make a habit of setting
your lens on the universal
focus mark before putting
the camera away each time.

You may save some impor-
tant scenes shot on the spur
of the moment. Also those
made leisurely when you
just forget to check your
focus.

As to editing, the average
beginner rarely feels like
discarding any of his first
shots even when they are
very poor. I do not believe
that he should do too much
in the way of editing until
he has enough film to work
with — except for cutting
out fogged frames and the
sections with perforation
marks.

— Arthur E. Gibbs.

I THINK that panoram-
ing, commonly called “pan-
ning,” is the most besetting
and unpardonable sin of
the embryo movie photog-
rapher. Besetting, because
it is by far the most com-
mon of amateur faults ; un-
pardonable, because, while
poorly exposed, badly fo-
cused, or otherwise techni-
cally imperfect shots are
invariably discarded, the
average amateur clings to
his panned shots.

The urge to pan a shot
is very strong and under-
standable. The amateur sees
a certain subject through
the extremely wide angle
lens of his eyes. Through
the viewfinder of his cam-
era he sees only a small por-
tion of the picture his eye
presents. It is his desire to
show the scene to his audi-
ence as he sees it and his
natural instinct is to start
at one side with his camera,
and go completely across
the subject or up and down,
as the case may be.

Another and frequent un-
derlying cause of panning
is the effort to get as much
of a scene as possible on the
least amount of film. Such
practice makes viewing of
pictures hard on the eyes.
Unappreciative audiences
invariably close their eyes
during screening of such
movies.

• — E. Moss Broaun.

I BELIEVE that titling
is probably the least under-
stood of the home movie

HOME MOVIES FOR JANUARY

PAGE 29

arts. Most beginners do
little about it because they
are timid about wasting film
and because they never take
the time to learn how sim-
ple it is to compose and film
titles. Many are hesitant to
even try to film the simplest
of titles which may be done
with any 8mm or 16mm
movie camera.

Then there is the amateur
who fails to understand the
importance of titling even
the simplest home movie, be
it 25 or 400 feet in length. A
motion picture in the term
of theatrical presentation
requires at least a main
or “name” title; so why
shouldn’t this same rule ap-
ply to a home movie?

But titling should not stop
with the main title. There
should be descriptive titles
cut in where needed to ex-
plain the film to those who
are not as familiar with the
subject as the man who
filmed it. Also, the use of
titles will often enable a
filmer to join together in
one reel, a number of scenes
filmed at various times,
making a nicely rounded
out subject for 10 or 15
minutes screening where

otherwise such scenes might
lie around dormant indefi-
nitely.

— Rome A. Riebeih.

T 0 advise one how to make
good movies is extremely
difficult due to our indi-
vidual conception of what
constitutes a good picture.
Many of us waste film due
to the fact we shoot a roll
of film and then discover
we forgot to adjust for ex-
posure or focus or both.

The way for a beginner
to avoid this difficulty is
to establish a routine for
shooting every scene and to
use this routine until its
practice becomes automatic.

— Dr. C. En'ion Smith.

Editing and splicing

is frequently a problem
for the beginning amateur.
It is often difficult to
make the beginner real-
ize that cutting a bad
scene out of a film improves
it materially. Also there
should be emphasis on the
need for a good splicer —
one that enables the ama-

teur to make splices with
the greatest of ease. Noth-
ing tends to discourage the
amateur from editing his
films like the task of splic-
ing if his equipment makes
a hardship of this task or
results in poorly spliced
films that invariably sepa-
rate during projection.

A perfect splice is one
with a strong, flat joint and
with the sprocket holes in
accurate alignment.

— N. Pelletier.

Probably the most

important education that
can be given the new movie
amateur is on the “How,
What and MTiy” in treat-
ment of subject filmed. Re-
gardless of the subject mat-
ter chosen to be filmed, I
feel that it is possible to
make it truly interesting to
other people if it is filmed
intelligently.

It should therefore be em-
phasized to the beginner the
importance of the closeup,
human interest shots, com-
position, and timing in sim-
ple concise language.

As far as editing and
titling are concerned, their

importance ranks after,
rather than before, the
proper exposing of pictures.

— S. James Bialson.

M ANY beginners’ films
lack enough good exposure
to cause an important loss
in footage. These days vdth
meters at so low a cost, it
seems almost criminal to
waste good film because of
poorly exposed scenes which
must be deleted from the
reel. Still, a meter is not
always the remedy either.
The beginner needs a “sys-
tem.”

Before pushing the start-
ing button of the camera he
should check everything —
exposure, focus, field of
view, camera speed, and
composition.

— J. E. Xestell.

Making good movies
requires what? Only two
things the beginner needs
to be overly concerned about
— focusing and exposure.
The focusing scale on the
lens is accurate and depend-
able and should be followed

l»e‘

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PAGE 30

HOME MOVIES FOR JANUARY

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Speed 16-6 - Anti-Halo Backing
Prices Same as for Aficrogan Reversal
SUPER CINEPAN PLUS REVERSAL
Speed 50-40 - Non-Halation Base

400 ft. inn ft. 33 ft.

Double 8 $13.50 $3.8.5 $1.45

Single 8 7. on 2.1.' .80

16mm 12.50 3.50

SUPER CINEPAN REVERSAL
Speed 24-16 • Non-Halation Base

400 ft. moft. 33 ft.

Double 8 $12.00 $3.35 $1.25

Single 8 6.50 1.90 .70

10mm 11.75 3.25

CINECHROME REVERSAL
Sneed 8-2 - Non-Halation Base

400 ft. 100 ft. 33 ft.

Double 8 $ 5.75 $1.75 $ .75

Single 8 3.50 1.15 .50

16mm 5.25 1..50

SPEED 8 SEMI-ORTHO REVERSAL

400 ft. 100 ft. 33 ft.

Double 8 $ 4.00 $1 50 $ .60

Single 8 2.75 1.00 .40

16mm 4.00 1.15

Clear 8mm. UNSCORED
Clear. Blue, Yellow in 16mrn.

Scor'^d film available in near future.
CINE-KODAK POSITIVE TITLE FILM
Darkroom Loading. Laboratory Packed
NOT Scored

400 ft. 100 ft. 33 ft.

Double 8 $ 4.10 $1.35 $ .60

Single 8 2.15 .90 .40

16mm 4.00 1.00

Clear. Fbirplehaze. Yellow. Red. Amber. Special Blue.
Also DiiPont Tiavender, Pink. Light Amber,
CAMERA SPOOLS WITH CANS— Each

Double 8 $ .35 Keystone St. 8 $ .35

I’nivex 8 20 16mm. 50 ft 50

Filmo St. 8 50 16mm. 100 ft 60

I'lastman Double 8 40

EXTRA CANS. Double 8 and Straight 8 size 05

100 ft. and 50 ft. 16inm size 10

Non-Humidor. 400 ft. 20c: 6 for 1.00

PRECISION PERFORATING

16mm Films for Use in Double 8 Cameras
50 ft.. $1.00 100 ft.. $1.50 400 ft.. $4.50

Satisfactory in all cameras except Keystone K-8
MISCELLANEOUS

B.\TA Precision All Metal 8mm Slitter $2.50

FOTOF.XDE DYE. for making Chemical Fades.... 1.00

FOTOFXDE WIPE-OFF TAPE, per roll 60

('IXIOTIXTS, 6 Colors and Instructions 3.60

DiiPOXT VISCOSE SPOXGES. each 35

now TO TITLE HOME MOVIES, book. each.... 1.00

HOME AIOVTES. Back Issues, 1936-37-38-39 15

Not all months Back Issues. 1940, each 30

TITLE DEVELOPER, tubes, each make 16 oz 15

FILM PROCESSING— PER ROLL

Reversal Title Developing

100 ft. 33 ft. 100 ft. S3 ft.

Double 8 $2.00 $ .65 $1.75 $ .75

Single 8 1.00 .35 .75 .40

16mm 1.50 1.25

WE STOCK EVERY MAKE FILM
Write for Complete NEW Price Lists
A PERSONAL MOVIE SERVICE
Telephone Lincoln 1207

W. STUART BUSSEY FILM LAB.

17 E. St. Joseph St. Indianapolis, Indl.

DEVELOP YOUR OWN FILMS

WITH aFLEXON OUTFIT

A NEW AND COM-
PLETE PROCESS-
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AMATEUR AND
PROFESSIONAL
2 heavy gauge steel
<anks — bakelite finish:
with Special hard rub-
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forming a flexible coil
for assembling, proc-
essing and drying.
Film is completely in-
closed and entirely
iiniu>i.sed m solutions — retaining constant, even tem-
peratures. Washer system, with hose connections for
any faucet, insures a cleaner film.

Made in 25, 50, (00 ft. sizes for 8 and 16mm film.

Drying rack extra. Write today for full details.

PI FYnKI 191^ BELMONT AVE.

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45 St.. N.Y. C.

in filming every scene. If
yon are in doubt as to your
ability to judge distance,
pace off the distance be-
tween camera and subject
before pressing the button.
Or measure the distance
with a yardstick or tape
line. I must confess that I
still carry a 50-foot tape
line in my camera case and
I use it, too ! Accurate focus
will insure clear sharp pic-
tures.

Exposure? Don’t let the
word frighten you. Refer to
the exposure guide on your
camera. One may doubt
what constitutes a “Hazy
or Cloudy” day. But use
your best judgment and

you will secure consistently
good pictures.

For rock steady pictures
on the screen, a tripod and
head for your camera will
insure this and should be
purchased as soon as the
family budget will permit.

— Gilbert B. Peterson.

In my experience, incor-
rect exposure and a great
tendency to panoram seems
to be the main difficulties
encountered by the begin-
ning amateur. These, of
course, may easily be cor-
rected through very little
study and practice. The
necessity for editing and

3k ree pictui^ed that rate stars .

® Continued from Page 23

titling should also come in
for a good share of study on
the part of the beginner.

— M. F. Sissel.

/i S technical advisor for
our cine club for the past
two years, most of the ques-
tions that have come to me
from amateurs concerned
the making of titles. Many
amateurs learned early that
making titles is not only
easy but is more than half
the pleasure of making suc-
cessful home movies. Natu-
rally, I recommend a study
of all articles and books on
the subject of titles for ama-
teur movies.

— A. T/ieo. Roth.

pital and stand about as a
broken arm is mended.

Efforts of a patient to
leap from a window.

Patient on arrival at hos-
pital going into convulsions
at entrance, and manner in
which nurses handled this
type of case.

A caesarean operation.

The picture ends with
the nurse back in her
room and proceeding to
complete the letter to her
mother. As she reads the
last line of the unfinished
letter — “I do not believe it
will be very exciting . .
she reflects on her experi-
ences of the day, then tears
up the letter as the last
scene fades out.

Editing : Good. Most scenes
were kept to minimum foot-
age except for the scene of
the boy having broken arm
set. Cutting in with one or
two closeups here would
have improved this se-
quence. A closeup of boy’s
face as he squirms while the
arm is being set is an inti-
mate touch that would add
considerable punch.

The opening scene was a
little too long. In fact much
of the opening of this pic-
ture could be eliminated and
the story started with the
scenes showing the nurse
writing the letter. The in-
sert of the letter telling
that she has just started to
work, etc., would tell all that
is depictedrtn' the opening
scenes.

Titling: Well exposed and
centered, all the titles were
superimposed over a scene
of a telephone switchboard.

This because most of the
titles concerned calls for
nurses and doctors which,
logically enough, would go
through the switchboard.

Photography : Good expo-
sure and framing of scenes
coupled with nice handling
of camera made the photog-
raphy of this picture high-
ly commendable. There was
no unnecessary panning.
This filmer evidently learned
early the importance of al-
lowing persons and objects
within the scene to supply
the action instead of the
camera.

Equipmetit: Cine Kodak
No. 60; f/1.9 lens; and tri-
pod.

"SAFE AND EASY SKATING" irk
200 Ft. 8mm — by G. C. W.

Continuity : The purpose
of this picture was to dem-
onstrate a new type of ice
skate, which is done with
the aid of a delightful lass
capering about a small ice
rink in the basement of her
home.

Obviously this filmer was
greatly handicapped by the
close quarters afforded in
the basement and the inabil-
ity to move about with his
cam.era and lights. As a re-
sult, all of the scenes are
made from one camera po-
sition and there is an ab-
sence of angle shots and
closeups that might other-
wise heighten interest in
the picture.

Not that closeups are en-
tirely lacking for there are
one or two, showing man-
ner in which the new type
skate is attached to the
shoe and how it permits
flexing the foot without
moving the blade on the ice.

Editing : Hampered only
by lack of angle and closeup
shots, this filmer has done
a nice job with the material
at hand, keeping footage of
all scenes down to the mini-
mum.

Titling : Titles were print-
ed on plain backgrounds and
nicely executed.

• All amateurs, whether sub-
scribers of HOME MOVIES or not,
ore invited to submit their films
to the editors for review and help-
ful criticism. Unless otherwise re-
quested, reviews of some of the
films which we believe would ben-
efit other amateurs will be pub-
lished each month.

Reviewed films will be rated
one, two, three, and four stars,
and films qualifying for two or
more stars will receive, free, on
animated leader indicative of such
award. Detailed reviews, with sug-
gestions for improvement — if ony
— will be mailed fo amateurs sub-
mitting their films.

Exceptional films qualifying for

the distinction of the "Movie of
the Month" will be treated in de-
tail in o feature length article in
o following issue of HOME MOV-
IES. In addition, o certificate evi-
dencing the award of "Movie of
the Month" ond o special oni-
moted "Movie of the Month"
leader will be returned with such
films after review.

When submitting films for re-
view and analysis, please advise
moke of camera, speed of lens,
whether or not tripod was used,
or if you used filters, exposure
meter, or other occessories. While
this information is not essential
to obtoin analysis of your film,
we would like to pass it on for
the benefit of other amateurs.

HOME MOVIES FOR JANUARY

PAGE 31

The Reader

SPEAKS

Handy Chart

Here’s some data tvorth
copying in your notebook
for those occasions ivhen
you ivish to shoot at a speed
other than 16 f.p. s.

Dear Sirs : Here is a han-
dy chart showing shutter
speeds at various camera
speeds as apply to the Bell
& Howell Filmo 8 :

Frames

Camera

Shutter

Per Second

Speed

(Single frame)

1/8 sec.

1/12 sec.

1/17 sec.

1/26 sec.

1/35 sec.

1/52 sec.

1/70 sec.

— John E. Fletcher,
Chicago, III.

Movie Df The Month

As Burton Belknap’s photo
failed to arrive in time to
permit its reproduction in
the December issue with the
article describing his Movie
of the Month, “Spokane and
the Inland Empire,” we are
printing it here, together
with the interesting letter
that accompanied it:

Gentlemen :

I wish to
thank you
for review-
ing my film
“ Spokane
and the In-
la n d Em-
pire,” and
granting it
the honor of being the
“Movie' of the Month” for
December, 1940.

I was always under the
impression that a person
had to have an expensive
camera with all the fancy
gadgets to win such an
award.

My camera is 13 years old
and was purchased second-
hand. I bought a light meter,
but after receiving back
some pictures I had taken
using it, I decided they were
no better than before, so I
traded it in for a tripod. The
outfit I used to make my
title on was made of wood
from scraps of a service sta-
tion erected next door. There
was not much room for it
in my apartment, so I left it

setting out in the middle of
the bedroom floor. It proved
quite handy tho’, for the
baby used it to exercise on
and I used it for a clothes
hanger at night. It was quite
a task for me to get into a
small closet we have, to open
my camera and turn back
the film to make titles on
a moving background with
double exposure. Once, after
filming a beautiful sunset,
which I was rewinding to
title the words “the end,”
my wife opened the door of
the closet, while the camera
was open, and I had to wait
almost two months for an-
other red sunset.

It took me a year to film
this picture as it had winter
scenes in as well as summer.
I drove some SOOO miles to
cover the local national and
state parks. However, it was
worth it and lots of fun. The
biggest thrill came when I
received the award from
you.

— Burton Belknap,
Spokane, Wash.

SynchrosDund

Gentlemen: In the article
describing Synchrosound, a
netv sound system for 8mm
and 16mm movies tvhich ap-
peared in the November is-
sue, it failed to state who
the manufacturer was or
where it might be obtained.
Will you please advise?

Synchrosound is distri-
buted by Presto Recording
Corporation, 242 West 55th
St., New York City, N. Y.

Car/t Shoot Indians!

Amateurs planning film-
ing expeditions into the In-
dian reservations of the
Southwest tvill be interest-
ed in the timely information
of this reader:

Gentlemen : Referring to
a recent request of one of
your “swapping” readers, it
may interest him as well as
yourselves that, according
to a recent order from the
Secretary of the Interior,
making still pictures or
movies of persons, ceremo-
nial dances, or of places
within the Indian pueblos of

KODAK BANTAM f/5.6

HANDY TO CARRY FOR YOUR
HOME MOVIE ^^STILLS”

FOR SHARP, CLEAR BLACK-AND-
WHITE PRINTS, OR KODACHROME
TRANSPARENCIES

These sturdy, compact Kodak
Bantams are ideal to slip into
your pocket for those “still” pic-
ture chances that pop up on almost
any movie-making occasion. And
though small in size, they lead to
big 2M X 4-inch black-and-white
prints, through modern photofin-
ishing methods. Take Kodachrome
full-color transparencies, too.

Kodak Bantam //5.6 has Kodak
Anastigmat //5.6 lens, multiple-
speed shutter, and accurate con-
struction throughout. Kodak Ban-
tam //4.5 has the faster Kodak
Anastigmat Special //4.5 lens and
1/200-second shutter. Both are
well worth your inspection.

ONLY EASTMAN MAKES
THE KODAK

KODAK BANTAM f/4.5 ^22^°

EASTMAN KODAK COMPANY, ROCHESTER, N. Y.

•,6"

\ svV'-'' a''"'

sot-

VICTOR Reflectors are spun on steel chucks
to accurately computed shapes In order to
assure maximum effective light. They step up
the Illumination of photoflood lamps 4 times
and more! They remain efficient because they
are spun from substantial gauge aluminum.
Interior finishess are fine oxide frost which has
been proved best for photographic reflectors.

There are more than a score of VICTOR Light-
ing Units, priced from $1.35 and up, which are
used in movie making. All are fully described
in our folder offered below. Camera dealers
can supply any VICTOR Unit promptly in its
original carton.

JAMES H. SMITH &. SONS CORP.

I to Lake street. Griffith. Indiana
Hush your CGth Year Folder describing your com-
plete lino of lighting equipment for indoor movies.

Name

BE SURE TO MAIL THE COUPON

PAGE 32

HOME MOVIES FOR JANUARY

19 4 1

TOURNAMENT

ROSES

NEW YEAR'S DAY PARADE
PASADENA, CALIFORNIA
IN

COLOR

SOUND — SILENT
400 ft. — 1 6MM — 400 ft.
Ready January 10, 1940

Full R eel of fascinating entertainment show-
ing personalities and prize-winning floats
covered entirely by millions of fresh flowers.

$AQ 50

H7. prepaid

Calif. Buyers add 3% Sales Tax

Remit with Orders

AUDICHROME
PICTURES CORPORATION

P. O. Box 883 Pasadena, Calif.

AUDICHROME PICTURES CORP.,

W 0. Box 888. Pasadena. Calif.

I enclose SlO.r.O fur ^00 ft. Tnnrnnmenl uf

Roses Parade Picture in color. Silent □, Sound □

Name

Address

City

State

GARMUR

Cable Release

Adaptors

for

8mm and 16mm

Cine Cameras

Attachment simplifies single frame expos-
ure, straight filming, locks for continuous
running; is instantly attached and de-
tached; does not interfere with loading,
winding or tripod mounting; equipped with
10-inch lock cable.

Available for: Filmo Companion, Sportster,
141; Cine Kodak 20, 25, 60; Keystone K8
(specify front or side button). Revere C-8
release next month.

$2.00 Postpaid in U. S. (plus Tax in Calif.)

See your dealer or write

'^ARM'fR PRODUCTS
P. O. 6073 Metropolitan Sta., Los Angeles, Calif.

Also: MATUS CAMERA SUPPLY CO.

5208 Wilshire Blvd. Los Angeles, Calif.

COMPLETE LINE OF 16mm AND 8mm
CAMERA AND PROJECTION FILMS
For taking Winter Pictures try our New Fast
ORTHO. Write for Catalog H.

Al Your Denier, nr IFrite Direct
RIDGEFIELD PARK, N. J.

Arizona and New Mexico
for any purpose is strictly
forbidden, unless the con-
sent of the governing offi-
cers of the pueblo is ob-
tained. Any charges asked
by the Indians must be paid.

Quoting from “Sunset”
magazine : “Indians are not
landscapes or objects, but
human beings with their
privacies and dignities as
such; and Indian places,
though bearing no outward
sign, may be as sacred in
the Indian mind as any re-
ligious sanctuary in the
white world.”

■ — J. H. Townsend,
Albuquerque, N. M.

Swappers

Readers with film footage
to swap; who loould lihe a
diotant amateur to make a
scene or two for him; or
those who would like to
trade films for any reason,
are invited, to use the
“Swappers” department of

this column. In tvriting, he
sure 1 1 specify if your films
as ivell as those desired are
8mm or 76mm, black and
ivhite or Kodachreme.

Dear Sirs: I am anxious
to get in touch with some-
one who has some extra
footage of night color shots
of the San Francisco Fair
which they would be willing
to swap with me for scenes
made in this vicinity.

— John Rahnsha,

774-5 Girard Ave.,
LaJolla, Calif.

Gentlemen : Recently on a
return tri]j through Texas,
I had all of my movie equip-
ment stolen from mv car.
Asa result I missed filming
much of the material I had
planned. Possibly some of
yoiir readers have some
footage of the following or
would like to film it for me
in exchange for extra foot-
age I have.

What I want most is
authentic scenes of Texas
cattle country — huge herds

^fyjouied C^kiidren

Continued from Page 16

burst of water from the fire
hose; and reaction of the
fire to the streams of water.

In this same manner our
movies should be made. In-
terest, gradually built up
with a series of short shots,
gives our audience oppor-
tunity to study every detail
— something that can’t be
done with a single shot.

The nice thing about mak-
ing movies this way is that
it doesn’t involve any extra
gadgets or equipment — just
our camera. Makes no dif-
ference whether it’s an 8mm
or 16mm box, or whether
it’s fitted with an f/3.5 uni-
versal focus lens or a fast
f/1.9 in focusing mount. Of
course, if we attempt to
make ultra closeups with
our fixed focus lens, that is,
shots of subjects closer than
five or six feet from the
camera, we shall need an
auxiliary lens in front of
our regular camera lens for
such extra close shots. These
lenses, a’ so called “portrait
attachments” are readily
available from most camera
stores for all cine cameras.

Varying our^ shots from
long to medium or doseup
may be accomplished in two
ways. We can change our
camera set-up each time,
moving the camera closer to

or away from the subject,
or- — if ours is a turret front
camera fitted with two or
more lenses of varying focal
length, we can accomplish
the desired results by mere-
ly changing lenses.

By no means is it essen-
tial or even desirable to
maintain t’le same camera
angle for all sequence shots.
Occasionally varying cam-
era angle from a low to high
position or vice versa lends
individuality to our pic-
tures.

I f one will follow this pro-
cedure in making movies of
his children he will not only
see immediate improvement
in his picture making but
he will acquire a feeling for
this simple technique that
will become natural to use
in all of his picture making.

An important thing to re-
member is that successful
filming of children requires
a simple, fool-proof tech-
nique that permits devoting
the greater part of our at-
tention to the subject of
our filming unhampered by
elaborate and complicated
equipment. Every additional
detail reduces by that much
t6e onportunity to catch the
spontaneity which makes
c ild pictures so interest-
ing.

grazing, etc. Shots of the
Big Bend country ; tarantu-
las; cactus; desert; in fact
anything to lend atmos-
phere to the 400 foot film
that I succeeded in getting
before my camera was
stolen. I do not need rodeo
shots. I have plenty of these.
Shots of the Alabama Cou-
shatti Indians would also be
welcome as would some in-
timate shots taken in the old
French Quarter in New Or-
leans, Louisiana.

In exchange, I have scenes
of Lookout Mountain Battle-
field, Chattanooga, Tennes-
see; Natural Bridge, Vir-
ginia ; and grave and statue
of Evangeline, heroine of
Longfellow’s poem.

I’d also be glad to furnish
any shots of this neck of the
woods that might be want-
ed. I get to New York and
Philadelphia frequently.

— Tech. Sgl. D. E. Boynton,
2nd Squadron,

O’mttted Field,

Middleton, Pa.

No little part of success-
ful movies of children de-
pends upon editing the film
after it is returned by
the processing laboratory.
When one recalls that rela-
tively few of every hundred
feet of film passing through
the cameras of Hollywood’s
picture makers goes into the
finally edited picture, the
amateur should not feel that
discarding his poor shots is
evidence of lack of ability.
Better to discard a techni-
cally poor shot than to im-
pose it on our audience sup-
ported by some lame excuse.
After all, when we realize
how many things the baby
did that we missed with our
movie camera, deleting one
or two poor shots should not
matter.

TO OUR READERS

We will appreciate calling our
attention to any misleading claim
made by any advertiser in HOME
MOVIES whose product or service
proves unsatisfactory.

Should an article prove other
than advertised or if a service is
not prompt, immediate notifica-
tion will enable us to enforce upon
the advertiser necessity of adjust-
ing his product or service to the
maximum high standard of quality
required by this publication of Its
advertisers.

HOME MOVIES FOR JANUARY

PAGE 33

Humidors (Russell Bobzin,
Des Moines, Iowa)

I plan to use Scotch cellu-
lose tape cans as humidors
for my 200-ft. 8mm reels. I
note that the lids of these
cans fit quite snug, tvhereas
lids of the regular humidor
cans on the market fit quite
loose. Is a loose fit preferred
for the purpose of admit-
ting air and, if so, ivould
punching a few holes in the
Scotch tape cans give ade-
quate ventilation?

Proper humidification of
film requires a free move-
ment of air within the can,
especially where humidify-
ing solution of water is
used. When film is placed in
an air-tight container bear-
ing a moistened humidify-
ing pad or blotter, the mois-
ture condenses on the film,
ruining the emulsion. If a
humidifier is to be used, pro-
vide for a loose covering of
the can or holes for ventila-
tion as you suggest.

Larger Bulb O. K. (J. W.

Davis, Catonsville, Md.)

My Univex projector uses
an 8-volt 40-watt bull). Is it
possible for me to increase
projection brilliance by fit-
ting it with the larger P-8,
n 5-volt, 125-watt projection
lamp? Hotv can this be
done? Would this lamp
scorch the film?

Yes, it is possible for you
to replace the smaller bulb
with the larger 125-watt
bulb in your Univex projec-
tor. It will require fitting
your projector with the
proper receptacle for the
125-watt bulb which is a
double contact lamp instead
of single contact as with the
present bulb. Also you will
have to re-align the reflec-
tor as well as adjust the new
lamp to insure the filament
is lined up properly.

There should be no dan-
ger of scorching the film as
long as the film is kept in
motion at the regular speed.
To attempt still projection
would of course result in
blistering the film. You rnay
find it necessary to provide
a greater circulation of air
through the lamphouse to
keep the large bulb suffi-
ciently cool.

• Readers: This department
is for your benefit. Send in
your problems and our tech-
nical board of professional
cameramen <10111 ans<wer your
question in these columns. If
an ansioer by mail is desired,
enclose addressed stamped
envelope.

Shutter Speed (Jack Ar-
nold, Seattle, Wash.)

Can you tell me the shut-
ter speed of the new Revere
8mm cameras and also if the
same shutter speed applies
to all model cameras?

The shutter speed of the
Revere camera when turn-
ing at 16 frames per second
is %r>th of a second. In other
words, each frame receives
an exposure of %sth of a
second.

Filming Upside Domu (T. E.

McCarthy, of Burlingame,
Calif.)

7 recently experimented in
making some tnck shots by
filming ivith my camera
turned tipside down. When
the film was returned from
the processor’s, I cut out the
scenes filmed upside down,
reversed them end for end
as you have so often in-
structed in Home Movies,
then spliced them back into
the reel. When the film ivas
projected, I found that at
the point ivhere the trick
sequenceivas spliced the film
skipped a half a frame, re-
quiring re- framing of my
projector. When the end
of the tnck sequence was
reached, it became neces-
sary to re-frame the film
again. Please advise the
cause of this.

The fault lies with your
camera in that the film ap-
erture is not properly spaced
in relation to the sprocket
holes on the film. The result
is, as you will undoubtedly
find from inspecting your
film, that the sprocket holes
are not centered on the
frame lines on the exposed
film. Consequently, when the
film exposed in your camera
is turned end for end, the
displacement between the
sprocket hole and frame line
is increased, causing the
jump during projection. As

THE NEW VICTOR ‘‘SILENT 16”

Heralds a New Day in 16mm Silent Projection

Again, in the new "Silent 16," Victor ingenuity firmly
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222 clean-cut, whit^metal characters, including capitals and
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The outfit includes: Opal glass, clear glass, and
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PAGE 34

HOME MOVIES FOR JANUARY

From border to border and coast to
coast, Filmack titles and announce-
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screens of America’s 10,000 picture

houses. _

The same professional 3 5mm camera
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Title your films the REAL way —
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far as we know there is no
method for correcting this
fault.

Bleach Life (Rayburn Ir-
win, Omaha, Neb.)

Why do some writers rec-
ommend using the bleach
and, clearing bath only once
or tivice, while others — us-
ing the same potassium
bichromate -sulphuric acid
bleach and sodium bisul-
phite cleaning bath say they
can be used to exhaustion?

Some home processors use
bleach and clearing bath
only once or twice to save
time and avoid dangers ac-
companying over-exhaus-
tion of chemicals. One can
tell when the chemicals are
approaching the exhaustion
point when it takes longer
to clear and bleach the film.

Scratched Films (Arthur
Hoffman, Denver, Colo.)

Some of m.y older films
appeared to have innumer-
able scratches when pro-

jected recently — something
I did not notice when I pro-
jected them ivhen they were
new about a year ago. I
have examined my projector
closely and find, nothing in
the film gate to scratch the
films. Another thing — the
scratches in question seem
to be too fine to be caused,
by the film gate; also the
scratches do not run for any
great length — jtist short
scratches perhaps six or
eight inches in length.

Your trouble seems to
be caused by dirty films —
too much rust and dirt have
collected upon them. As the
film turns on the takeup
spool small particles of dust
between the film scratch the
film’s surface as each layer
of film rubs against the
other.

Best remedy is to clean
your films as often as pos-
sible with a good liquid film
cleaner or carbon tet. Bet-

ter, fit one of the automatic
film cleaners such as the
Fisher to your editing board
so that the film is cleaned
each time it is rewound.

Toning (Wm. B. McAfee,
San Francisco, Calif.)

How is a film toned, and
how does it differ from tint-
ing ?

Toning colors the emul-
sion while tinting colors the
celluloid base. Thus if a film
were toned blue and tinted
yellow, the dark portions
would be blue and the light
portions yellow. Toning so-
lutions can be purchased in
prepared form, and the film
is immersed until the de-
sired coloring is obtained.
In tinting, a small amount
of ordinary dye is diluted in
distilled water and the film
immersed until the desired
color results. Some dyes
work better than others,
and tests are always recom-
mended.

DL firit 100% l^eet 3diow5 dd . . .

• Continued from Page 19

fluence of the movement is
being felt in many ways.
An endless stream of com-
munications is arriving at
national headquarters re-
questing membership or in-
formation on formulating
Reel Fellows Clubs in vari-
ous cities. Scores of letters
have come in offering coop-
eration in all sorts of ways.

The Prospect Club has al-
ready come forth with an
invitation to amateur movie
makers visiting New Eng-
land to make its club rooms
in Holyoke their headquar-
ters. “The welcome sign is
always out for fellow Reel
Fellows,” says President
Gagnon. “Our meetings are
open to anyone wishing to
attend, and we’ll do every-
thing we can to help the vis-
itor to get the pictures he
wants.”

As of December 28, more
than a thousand Reel Fel-
lows buttons and camera in-
signias had been issued.
They are proudly worn and
displayed in every state in
the Union. Additional club
charters are^either in the
hands of club officers or in
the mails. This, despite the
fact that several fat pack-
ages of mail which reached
Home Movies during the
Christmas holidays are as

yet unopened. Truly this is
a remarkable record in view
of the fact that the Reel
Fellows Club movement is
less than seven months old.
Making predictions is a haz-
ardous undertaking, but the
writer, this time, feels that
a peek into the crystal ball
would reveal an army of
several thousand Reel Fel-
lows actively in the field
when the first anniversary
of the Club idea inception
rolls around next May.

This fellowship of ama-
teur movie makers repre-
sents a tremendous influ-
ence. As it grows in num-
bers and strength, as liasion
between individual chapters
is further facilitated, there
is no foretelling the extent
of future benefits and pos-
sibilities. Already the idea
has been broached that
within the framework of
the national Reel Fellows
organization, a unit similar
in purpose to the Academy
of Motion Picture Arts
and Sciences, with annual
awards for the “bests” in
all departments of amateur
movie making, be estab-
lished.

For the time being, how-
ever, confident that the fu-
ture will take care of itself.
Home Movies again refers

to The Prospect Reel Fel-
lows Club and Ray Gagnon.
“The one concrete result of
our several meetings,” he
says, “is the unanimous
realization that everyone of
our members has become
more proficient in his chosen
hobby. And while each has
improved himself, I don’t
think that anyone can say
that he hasn’t had a lot of
fun.”

That, it seems, should be
the aspiration and objective
of every Reel Fellows club.

DD YDU KEEP
YOUR

CAMERA RUSY?

Do you shoot a roll of film,
then put your camera bock
on the shelf indefinitely, or
do you keep active shooting
movies all the time?

For the best letter received
each month telling "How I
Keep My Camera Busy" the
editors will reward the con-
tributor with a roll of pon-
chromatic film; second best,
copy of either "Home Movie
Gadgets" or "How to Title
Home Movies" — both valu-
able books for the movie
amateur; and third best, two
of the new "Steel-Flex" reels
(8mm or 16mm) and con-
tainers.

Address letters to Editor,
HOME MOVIES, 6060 Sun-
set Blvd., Hollywood, Calif.

HOME MOVIES FOR JANUARY

PAGE 35

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be as lengthy or short as
you wish. Closeups here and
there will add interest to
your scenario. Eventually
when all are assembled, the
wife cups hand to mouth
and calls to husband, saying

that something is wrong —
all the lights have gone out
in the living room, and im-
mediately all are turned out.
Wlien the lights flash on
again, husband is revealed
standing in center of room

clad in his shorts or pa-
jamas, while the assembled
guests yell “Surprise” and
laugh and shout while their
shocked host makes a hasty
exit.

— Josephine Asche-

Ditli

in^ pmuiaed

Continued from Page 15

3 •

ence do? Sit bewildered and
puzzled until the film is fin-
ished?”

“Well, at least they can
enjoy the pictures.”

“Yes, each scene by itself,
but as a group what do they
mean? Where were they
taken ? If you saw a beauti-
ful picture, wouldn’t you
want to know at once where
it was taken?”

I IMAGINE I would, but
these pictures were taken
for this fellow’s own amuse-
ment and I don’t see why he
should title them.”

_ “If they were taken for
himself, for his own amuse-
ment, then he certainly
doesn’t need to title them;
but the moment he shows
them to friends, as he did
here tonight, his friends re-
serve the right to expect as
finished a production as the
filmer is able to make. Now
he’s a good photographer,
there’s no doubt about that.
His exposures were nearly
all good. His lighting, choice
of subjects, and so on were
all excellent; but when it
came to presenting these
choice bits of cinematog-
raphy to us in the accus-
tomed manner, he failed.
Where do you think his film
would go in a local or state-
wide amateur movie con-
test?”

“He didn’t make it to enter
any contests, probably.”

“Ah, then you admit it’s
far from perfect?”

“I didn’t say that. I mere-
ly said the pictures were
very fine and I still think
they were.”

“Yes, and to that I agree
100%. Perhaps that’s why
I’m so sorry the fellow
didn’t go ahead and com-
plete his job. But as a fin-
ished amateur movie, tjTii-
cal of what amateurs now-
a-days are capable of pro-
ducing, I say his film failed
as a completely entertaining
movie.”

“You know, I owe you an
apology,” came the startling
admission from the begin-

ner. “Although I’ve sort of
been arguing with you, I
must admit that I agree with
you. I think perhaps the rea-
son I defended those pic-
tures, as you call them, is be-
cause they are exactly the
type of thing I have been
doing since I got my cam-
era about a year ago. Titles
and cutting and those things
have scared me in a way,
and since I don’t show my
films to anyone except just
the family I haven’t both-
ered to mess with titles. In
fact I wouldn’t know how to
go about making one.”
“They’re the simplest
things to make you can im-
agine. Did you ever shoot a
close-up of a flower?”

“Shot a couple last sum-
mer but they were out of
focus. I never could figure
out why.”

“The reason was that you
were too close to them.
When shooting subjects
close to the camera you must
use an extra lens known as
a “portrait” or “supplemen-
tary” lens in front of your
regular lens. This puts close
objects in focus. You can get
one of these lenses from
your dealer. He can help you
after he knows what you
want it for.”

“Are they very expen-
sive?”

“Not more than a dollar.
Now a simple title can be
made just the same as a
close-up of a flower. You
print the letters with white
ink upon a black card and
set it up in front of the cam-
era. Give about the same ex-
posure as you would for the
flower and that’s all there is
to it.”

“You mean that’s all there
is to making that printing
on the film?”

“Why, yes, why?”

“Well, nothing, only I
thought it was a long and
tedious process.”

“So many amateurs think
that, but in many ways it is
one of the easier parts of
movie making.”

“What is a titler and how
is it used?”

“A titler is a device for
holding the camera in a
fixed position and the print-
ed card, too. The supple-
mentary lens is a fixed part
of the titler.

“Does a person have to
make one, or- — ”

“Yes, you can easily make
one, or you can buy one
ready-made for as little as
$3.00. Most camera manu-
facturers make a titler to fit
their cameras. Buy the
one that is made especially
for your camera. Once you
use a titler, you’ll find title
making quite simple. You
have no focusing problem,
your title is always well cen-
tered, and if you standard-
ize your illumination, your
exposure will always be the
same.

“What kind of light is the
best, sunlight?”

“Sunlight is O.K., but its
intensity varies, and on
cloudy days you can’t make
titles. Artificial light is the
same practically always and
if you’ll use a couple of pho-
tofloods at a fixed distance
on each side, you’ll always
get uniform results. In this
respect I can safely say that
title making is one of the
easier phases of movie mak-
ing, for once the distances,
lens settings, etc., are stan-
dardized, the results will be
consistently good.”

P RESENTLY the begin-
ner noticed that everyone
else had left the meeting
place. It was getting late. As
he shook hands with the old-
timer he said, “Well, I’ve
learned a whale of a lot
from you tonight. What
you’ve told me would make
good material for a club
meeting. I’m going to write
it up and hand it in as a
program suggestion.”

“Never mind that,” said
the old-timer. “If you’re go-
ing to do any writing, start
on those titles of yours !”

“ Y ou got something there,”
replied the beginner, “I’m
going to do just that! Good
night!”

PAGE 36

HOME MOVIES FOR JANUARY

uanu moviEs

Ideses for Short Films

Rose Parade

Thousands of tourists
from all parts of the coun-
try will gather in Pasadena,
California, New Year’s Day
to see the famed Tourna-
ment of Roses Parade.
Many, of course, will make
movies of the event. Here
are a few tips for those who
would conscientiously make
professional-like movies of
this spectacle :

Best parade pictures are
those in which all scenes are
not shot from the same
viewpoint, and if possible
contain a variety of long,
medium, and closeup shots.
If the conscientious filmer
will go directly to the tents
or buildings where the mas-
sive floats are being assem-
bled on the eve of the pa-
rade, he can secure highly
interesting shots of work-
ers arranging the thousands
of fresh flowers on the
framework of each float.

At parade time, it is best
to forget about a seat in the
grandstand or along the line
of march, but stay close
to the curb, camera ready in
order to film the floats close-
up and to be able to move
around to change camera
angle frequently.

Last year, one enterpris-
ing amateur shot the whole
parade while skimming up
and down the line of march
on roller skates.

If you can arrange it be-
fore hand, get a group of
your brother cinebugs to-
gether and arrange for them
to shoot the parade each
from a different vantage
point, shooting extra foot-
age of each scene. Then
when the films are returned
from the processor, scenes
can be cut up and divided
between all so that each will
have a complete record of
the parade consisting of the
scenes filmed from various
locations.

For closeups of each float,
wait until the parade dis-
bands, then go to Tourna-
ment Park where the floats
are placed on display for the
public.

— John Calhoun.

Surprise Party

The following scenario is
adaptable for indoor filming

o If you have an idea for in-
teresting short movie — some-
thing that might be filmed in
one's backyard or not far from
home on a single roll of film —
why not pass it along to a
brother cinebug in our Back-
yard Movies department?

Those which we publish will
bring contributors either a 100
foot 16mm or 50 foot 8mm film
subject which may be selected
from the catalogs of any film
producer advertising in HOME
MOVIES.

For ideas and complete sce-
narios that can be adapted to
a feature length article, we will
award the contributor with two
rolls of panchromatic film.

Address all suggestions to
Backyard Movies Editor, c/ o
Home Movies, 6060 Sunset
Blvd., Hollywood, Calif.

and should prove especially
interesting if one is plan-
ning a party or a small gath-
ering of friends. Title:
“Who’s Surprised?’’ Open
up with a shot of a man ob-
viously very tired entering
the living room and drop-
ping wearily into an arm
chair. Preparing to read the
evening newspaper he drops
part on the floor. His wife,
entering, quickly retrieves
the paper from the floor and
takes a chair nearby, from
time to time glancing nerv-
ously at clock or watch. Dur-
ing course of the next few
minutes the man subse-
quently drops ashes or to-
bacco on the floor, which his
wife hurriedly cleans up;
he opens his collar and tie,
kicks off his shoes aimless-
ly and makes the remark
that he’s “going to bed early
tonight if it’s the last act of
his life!”

His wife is nervous and
preoccupied. Running her
hand over his chin she sug-
gests that he needs a shave
— but Mr. Man isn’t going
to shave until morning, re-
gardless. Various scenes
might be injected into this
particular sequence which
add to the discomfiture of
wife. Finally, after glanc-
ing again at clock or watch,
she asks her husband to get
her some particular"object
from upstairs and he list-
lessly leaves room.

Following scene shows the
guests entering noiselessly
and gathering about room.
This particular scene may

For your Xmas cine camera, here’s just
the meter you want . . . one that will en-
able you to get every picture exposed
with “on-the-dot” accuracy, right from
the start. It’s a compact, “pocket-size”
meter, extremely simple to use, and it’s
built by Weston . . . your best assurance
of dependability and long life. It can be
used with all types of movie cameras,
and all film, including color. It is quickly
“pre-set” for emulsion speed, frames-

per-second and type of camera, and
always left that way unless a different
film or camera speed is used. Thus it is
virtually instantaneous in use . . . with
no calculations or adjustments to make
while shooting. The price is only $ 15.50.
Get one at your dealer’s today, and en-
joy good movie-making all through the
years. Literature on request. Weston
Electrical Instrument Corporation, 585
Frelinghuysen Avenue, Newark, N. J.

Three Years HOME MOVIES delivered right to your door every month

jQf tor the next three years at a saving of $1.00. Don't miss a

5|-v II single valuable article. Subscribe today! Send check or

JJOliarS money order to

VER HALEN PUBLICATIONS, 6060 Sunset Boulevard • Hollywood, Calif.

iHaiiEncii

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HOME MOVIES FOR JANUARY

PAGE 37

•nm iRiiiiiiES-

By GEORGE W. CUSHMAN

If you have any questions
concerning titles or title-
making, Mr. Cushman will
be glad to help you. You can
write him in care of this
magazine or direct to his
home address, 3425 Witmer
Parkway, Des Moines, Iowa.
Be sure to enclose a self-
addressed stamped envelope
for your reply. It is also
well to include a sample or
drawing when possible, as
well as the developer used,
kind of illumination, film,
lens opening, etc.

Q. I have heard it said that
a filter ivill make sharper
titles. Is this so, and if so,
Why? — M. K. V., Toledo,
Ohio.

A. I doubt if a filter would
make “sharper” titles, but
if the background or the let-
ters or both were colorful,
then a filter might make the
title more legible by increas-
ing the contrast.

For instance, if the title
you are photographing has
white letters on a bluish
background, a yellow or or-
ange filter would pass the
white letters but hold down
the blue background. But if
the title is black and white
only, no filter will give any
better results.

Q. I have been told that
titles on positive film re-
versed contain more con-
trast than titles on positive
film developed to a negative
only. I do not understand
this and ivould appreciate
any information. — B. S. P.,
Mihvaukee, Wis.

A. Since the same film is
being used in either case,
the answer can depend only
upon the developer. Who-
ever told you this was prob-
ably using a contrasty de-
veloper with his reversal
process and a slightly softer
formula with his direct pos-
itive titles. Either this, or
he was not developing his
direct positives long enough,
thereby not securing the
greatest contrast.

As a general rule, how-
ever, this might be correct,
simply because most posi-
tive film reversal formulas
do happen to be of the con-
trast variety. But you can

employ other formulas for
direct positive work that
will be every bit as con-
trasty as any reversed print.
D-9 will give as much con-
trast as anyone could ask
for, especially when the ex-
posure has been correct, the
solution is fresh, and the
development is carried out
for about three minutes.

Q. Is there any formula
for figuring how big the
area tvill be with the cam-
era at a given distance, and,
likeivise, where the camera
must be placed to cover a
certain area? — G. P. L.,
Des Moines, loiva.

A. Yes, and a very simple
one, too. With a one-inch
lens on a 16mm camera or
a half-inch lens on an 8mm
camera, the width of the
area is just two-fifths the
distance from subject to
lens. For example, the cam-
era is 30 inches from the
title. Two-fifths of 30 is 12,
so the width of the title area
is 12 inches (and, since the
height is always % of the
width, the title will be 9
inches high) .

Likewise, if the title is
20 inches wide, the camera
lens must be 50 inches away,
or 21/2 times the width of
the title. (The height re-
mains •%, the width, or, in
this case, 15 inches.)

Q. I have been under the
impression that if the ex-
posure and developing tvere
cdivays the same, the results
would be uniform, yet my
titles are often darker at
times than others. I have
been using the same brand
of positive film and tvonder
if the film ages rapidly or
ivhat coidd be the cause. —
S. L. U., Atlanta, Ga.

A. Positive film, if kept
in a cool, dry place, should
last many, many months,
even years, without becom-
ing visibly less sensitive. I
am inclined to think the
trouble lies in your partic-
ular set-up. There are so
many variables present that
without a careful check-up
it would be almost impos-
sible to state which one is
at fault. For instance, the
illumination you use may

A CAMERA

MXCROGRAPHIC COPYING LENS CHANGE

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A Solar will bring out the “Prize Winning” qualities oi
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wanted features for perfect enlarging — adjustable condensers,
perfected light and optical system, micrometric focusing, etc.

In addition your Solar can be instantly converted to a portrait
and .:opying camera — coupled to a microscope for scientific work
—or it may also be used as a copy stand
with your regular camera. Eight models
cover 35mm. to 5x7 inch negatives. Prices
start at $34.50.

i Made
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ENLARGING TREATISE FREE

Prepared by experts and written
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Thirty-six pages profusely illustrated.

Tells you how to transform your
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pictorial enlargements. Loaded with meaty in-
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Ask for Enlarging Treatise HM141. It’s Free.

BURKE fir JAMES, Inc., ( ,%) 223 W. Madison St. Chicogo

HOW TO MRKE
HOME MOVIE

GADGETS

MOVIES MAGAZINE SERIES

"Professional" Fades, Wipes and Vignettes

BAIA

Complete with coble release, fade disc, M Q F
wipe dlic, vignetter, and lent adapter. • ee^J J

CIME-TKANSITO, JR.

See your dealer, or order direct!

VER HALEN PUBLICATIONS 6060 Sunset Blvd., Hollywood, Calif.

In personal movies, scene transitions, i.e.
the change from one scene to another, are
important for continuity and greater inter-
est. Fade-ins, fade-outs, lap-dissolves
(with back-winding cameras) and real
wipe effects are easy if you own a Cine-
Transito, Jr. Small, compact, light . . . effi-
cient and eveready.

TIMED AND OPERATED BY
CLOCKWORK MECHANISM

AMERICAN BOLEX COMPANY, Inc.
155 East 44th Street * New York City

HOME MOVIE
GADGETS

AND HOW TO MAKE THEM

$1.0D

per copy

postpaid

Nearly 100 pages profusely illustrated
with photos and sketches telling how to
moke gadgets and accessories for cam-
eras; for making wipe-offs and fades;
title making; editing and splicing; and
0 host of others.

No theories — every gadget tested and
proven by on advanced amateur. The
plans and specifications alone of just one
of the gadgets is easily worth the price of
^ the book. Limited printing on first edi-
tion. Order now!

Do you get a lot of pleasure
from building your o’wn home
movie gadgestf Then here is
the very book you voant !
Chock full of ideas for gadg-
ets for Smm and 16mm cam-
eras and projectors — things
easy for any amateur to make.
.Idd a copy of IIoMi- Movie
G.xdoets ,\nd How to Huild
Them to your library today!

PAGE 38

HOME MOVIES FOR JANUARY

WIDE ANGLE LENS
ADAPTOR

In Focusing Mount

Fits 12'/2mrn and 13mm lenses, convert-
ing them to wide angle lenses. Doubles size
of area photographed.

Corrected for color and fully guaranteed
in all respects. Price $21.00

California buyers please include sales tax.
Orders will be filled in the order in which
they are received.

MacVAN MFG. CO.

3829 El Cajon Blvd. San Diego, Calif.

New

CINE
KIT

Only $6.00

4 FILTERS and DUAL-SNAP SHADE TO MEET
ALL MOVIE FILTER NEEDS — both Kodachrome
and Black and White.

Tlie new Harrison CINEKIT contains a special Aero
Lock Ring, a Dual-Snap Aluminum Sunshade, and the
following de luxe Duraline Filters:* No. 4 Red (brings
out clouds against grey-blue sky). No. 4 Green (gives
detail in green foliage and grass). No. 4 G-Y (dark-
ens sky — gives contrast in snow scenes). No. C-4 (cor-
rects indoor Color Film for daylight use). Case is of
durable 5-oz. Elkhide, felt lined.

(*lf desired, any filters specified will be substituted
for the above — more than 50 colors are available to
choose from.)

Send for Free Illustrated Folder Today
HARRISON Sl HARRISON. Optical Engineers
8351 Santa Monica Blvd. Hollywood. Calif.

8mm SLITTER

Slits perfectly 16mm width film to exact 8mm
width. Die cast body with hardened steel
cutting wheels. New price< each, S2.50.

DEVELOPING RACKS

Stainless steeL take 30 feet 16mm or 8mm
width film. Can be used in 11x14 or 8x10 flat
trays respectively. Complete with loading
stand, each, $6.75. Specify type wanted.

Jt Your Dialer’s or Direct

J. C. Haile & Sons

Motion Picture Dept.

215 Walnut Street Cincinnati, Ohio

FOR BEST RESULTS
. . . ALWAYS . . .
LOAD WITH ONYX
HI-SPEED FILM

1 00 ft. 1 6mm

$5.25

25 ft. 8 /8mm

. 1.60

30 ft’. Univex

. 1.10

Rating of 50

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Write for price list of all types and grades
of film. Processing chemicals for Home use.

KENWOOD FILMS

1231 E. 46th Sf. Chicago, III.

. P I LM C R AP H

VOICE AND MUSIC recording;

Making your uuti •‘Talkies’* now possible with newly
patented FTLMGRAPH. Instantaneous and permanent
play-back. Cost of recording only 25c per hour. Over
13 hours of indexed VOICE. RADIO. CODE. TELE-
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$3.00 up. Bulletin free.

MILES REPRODUCER CO.. INC.

Dept. H M A. 812 Broadway New York City

COLOR

™g 16

mm BLACK 6.WHITE cutting
Ha n d I ettered”! LLustrated« Decorated

TITLE SERVICE

1600 BROADWAy N.tc. CI-6-5080

seem to you to always be
the same, but you may live
in a part of town where
there are a great many eiec-
tricai appiiances, heavy mo-
tors, etc., and when these
are on the eiectricai current
is reduced, thereby causing
under-exposure. Later on,
when these appiiances are

on its gieaming surface and
speaks to her:

I am your slave;

For ivishes three,

Command me thrice

And they shall be!

Intrigued, the housewife
contempiates the genie’s
words and the favors they
might bring her.

The next sequence shows
the housewife busily mak-
ing up beds. Obviously hav-
ing forgotten the genie’s
promise, she pauses in her
work and exclaims, “Oh, I
wish this housework were
done !” Suddenly the sheets,
the blankets and the spread
straighten out on the bed
as though by some unseen
hand. Magically, the pillows
are arranged in place. As
the puzzled housewife looks
on, the vacuum cleaner in a
corner of the room sudden-
ly comes to life. The cord
creeps along the floor to-
ward a wmll socket, mounts
the baseboard, and the plug
snaps into place. The clean-
er moves back and forth
across the rug. There are
frequent cutbacks to the
wife as she looks on at the
wierd action taking place
before her.

In another corner of the
room a dustcloth moves over
a chair. On the floor a news-
paper folds up by itself and
climbs into a nearby waste-
basket. Another flash back
to the wife shows her count-
ing off the first wish on her
fingers, leaving but two
more to be granted.

Her housework complet-
ed, the wife retires to her
bath. Before entering the
tub she turns on a portable
radio. A band is playing
“Dixie” and this is shown
by the woriLs and music
cleverly superimposed over
the scene in such a manner
they seem to emerge from
the speaker. The housewife
starts t© sing and as she ut-
ters the words, “I wish I

not running, the line is back
to normal and your illumi-
nation is greater.

The spring in your cam-
era may run the camera
faster when tightly wound
than when partly run down,
which would cause uneven
exposure. Perhaps your
light bulbs are nearly worn

were in Dixie” . . . Presto!
era. For instance, there was
She finds herself completely
nude standing in a Dixie
cott onfield !

Cochran didn’t journey
from Colorado to Southern
cottonfields to make this
shot. Instead he followed
the professional’s technique
and depicted the transition
from bathtub to cottonfield
by clever camera work : nice
low’’ angle shots of the house-
wife silhouetted against a
cloud-flecked sky and scenes
of cotton plantations inter-
cut for atmosphere.

Swappers

I have noticed that your column for
“Swaps” has been increasing of late,
and I think that the idea of amateurs
from over the country swapping films,
is a good one. If any amateur wishes
to have scenes in 8mm of the Pikes
Peak region, I’ll , gladly swap for
scenes made in their locality. I would
like particularly at this time, scenes
of southern cotton fields, showing the
\vorkers in the fields if possible. I have
some nice black and white 8mm scenes
of Pikes Peak and nearby mountain
country to exchange for this. — Earl
Cochran, 306 Exchange Nat’l. Bank,
Denver, Colorado.

When Earl Cochran needed
scenes of cottonfields for his movie,
"Three Wishes,” that were not ob-
tainable in his locality, he took
advantage of the Reader Speaks
department in HOME MOVIES,
inse rted the above notice, and
promptly contacted an amateur
filmer in Texas who supplied the
scenes.

Columns of the Reader Speaks
department are open to all read-
ers of HOME MOVIES who have
films or scenes they wish to swap
for those of another locality.

Realizing her predica-
ment, the wife cries out,
“Oh, I wflsh I were home!”
and just as suddenly finds
her wish gratified. As she
realizes the three wishes
granted her by the genie
have been wasted, she weeps
softly to herself, and here
the picture ends.

Outstanding is Cochran’s
ability to do exceptional
things with a movie cam-

out and aren’t as strong as
they used to be. Also, you
might vary the type of pa-
per you use for your title
backgrounds. Maybe one is
slightly yellow or cream col-
ored. This would cause a de-
cided variation in your re-
sults.

Wonlk . . .

era. For instance, there was
the vast amount of single
frame photography neces-
sary in filming the opening
titles as well as the sequence
depicting the housework be-
ing magically completed.

There were no sub-titles
used in the picture in the
ordinary sense. All spoken
titles were superimposed
over scenes and the accu-
racy with which this was
done rates additional ac-
claim for Cochran. And in
the closeup of the radio, the
clever way the words and
music were superimposed
would do credit to any Hol-
lywood cinematographer.

The manner in which
“Three Wishes” was con-
ceived and produced is best
told in Cochran’s own
words : “One afternoon last
winter,” relates Mr. Coch-
ran, “Mrs. Cochran, myself
and a friend were sitting
about the fireplace trying
to keep warm while a big
snowstorm Avas in progress.
The conversation gradually
turned to home movies and
we decided we would like to
make a picture that could
be filmed mostly indoors and
one that would require few
characters ; also we wanted
a story that would enable
us to exercise trick photog-
raphy. I have a Bolex 8mm
camera equipped with a i^-
inch f/1.5 lens, a 1/2-irich
f/4 lens, and a 3-inch f/4.5
lens.

“Someone — I believe it
was my wife, who, incident-
ally, takes the lead in ‘Three
Wishes’ — mentioned the
old story of ‘Aladdin and
His Magic Lamp’ as pos-
sessing possibilities for
trick stuff. That started us
off on all kinds of ideas. But
since we wanted to make it
a home movie, we conceived
the idea for a lady to be
granted three wishes and
then to lose them foolishly
so that she had nothing to
show for them.

“We then discovered that

® Continued from Page 20

HOME MOVIES FOR JANUARY

PAGE 39

we had to have some reason
for her obtaining the three
wishes, so we reverted to
Aladdin again and, not hav-
ing the magic lamp, we
planned to use a silver cof-
fee pot instead. Again, the
coffee pot would better fit
into the more modern home
idea.

“It only took about an
hour to decide that we had
a good idea and to develop
it. And, believe it or not,
that simple statement ut-
tered by the genie took the
rest of the afternoon to
think up!

“After the complete story
was outlined, it occurred to
us we had a story that
would stand a good chance
in Home Movies’ Annual
Amateur Contest. So we
went right to work on the
filming. But we failed to
reckon with the cottonfield
sequence. There are no
cottonfields within a good
many hundred miles of Col-
orado Springs, so our next
problem was how to get
these very important scenes
for our picture. The closing
date of Home Movies’ con-
test found our picture still
incomplete and we were of
course obliged to forego en-
tering it.

“To acquire the needed
cottonfield scenes, I enlisted
the aid of Mr. Hugh Gray
of Houston, Texas. My first
communication with Mr.
Gray was through the
‘Swappers’ column of Home
Movies magazine. In the
October issue, there ap-
peared my letter advising I
had footage of local scenes
to swap for much-needed
scenes of cottonfields, cot-
ton picking, etc. Mr. Gray
was among the several re-
sponding, and an agreement
followed whereby he sup-
plied me with some excel-
lent shots, many of which
were intercut into my pic-
ture.

Perhaps you would like
some technical data too. The
titles were all made by my-
self, including the lettering
and art work, and were shot
on a home-made title board
which I built from plans
and instructions which ap-
peared in an early issue of
Home Movies.

“The lead title was done
by double exposure. To staid
with, the background was
made by showing the fence,
and then on a black card
I lettered the title text in
white so that it would cor-
respond with the area of the

fence in the background.

“When shooting this title
which, incidentally, con-
sumed an entire evening, I
shot the black card with the
lettering first. I ran approx-
imately one foot of film
through the camera from
where I wanted to have the
title fade in — this with the
lens capped. Then I started
shooting the title. First I
covered the black card com-
pletely with ‘schmaltz,’
which is a fine black sand
that sign painters use. I
placed the paint bucket and
brush in the lower right-
hand corner of the card so
that when the first eight or
ten frames were exposed,
only the bucket and brush
would be photographed.

“Then, in single frame
animation, I photographed
the paint brush in action.
I moved the brush from the
bucket to the first letter,
brushed the black sand
away, exposing the first
letter to view, which gave
the appearance that it had
been painted by the brush.
The complete title was film-
ed in this way, exposing
about one-quarter of an inch
of the lettering at a time
and moving the brush to
correspond until all of the
letters had been exposed.
The fade-out was accom-
plished by sprinkling the
black sand back over the
letters.

“I next wound back the
film into the camera after
capping the lens, and then
double-exposed it on the
background. This gave the
effect of the brush painting
on the fence. I had to shoot
this twice before I got the
effect I wanted ; but I think
it was worth the effort. The
rest of the fades and lap-
dissolves were accomplished
with a Harrison fading
glass.

“The stop-motion photog-
raphy of the housecleaning
sequence consumed all of
one Sunday afternoon. The
sequence of the electric cord
plugged into the socket was
done by shooting one frame
at a time and moving the

cord about four inches be-
tween each exposure .Trans-
parent Scotch tape was used
to hold the cord to the base-
board when the cord appar-
ently climbs the wall and
plugs into the socket.

“In the vacuum cleaner
shots the cleaner was moved
about one foot at a time and
individual frames were shot
of each position. We always
had to make certain that
the person who moved the
cleaner was out of camera
range after arranging each
movement.

1 he dustcloth moving-
over the furniture was
filmed in the same manner.
Here again scotch tape was
used to hold the cloth in
the required position. The
newspaper was folded by
means of fine threads con-
trolled outside of camera
range which folded the
sheets as the action was shot
at 8 fi’ames per second.

“The words and music
coming out of the radio was
done by placing a long nar-
row strip of black card-
board, on which the words
and musical notes were
printed, before the camera
and photographing it as it
was gradually moved from
right to left. The lens was
masked off so only the left
side of the frame was ex-
posed. Thus, the words and
music emerged from the
center of the picture; and
when this was superim-
posed over the closeup of
radio, the completed scene
showed words and music
coming directly out of the
speaker of the radio. This
was the only shot on which
I had to use my telephoto
lens, because the radio was
so small I couldn’t get a sat-
isfactory full frame closeup
of it with my regular lens.

“The ‘we’ I have referred
to included besides myself,
my wife, Helen Cochran,
and Arthur Davies, who
played the part of the genie.
All contributed to the suc-
cess of this picture, far
more than is apparent on
the screen.”

Si adi

ow5

• Continued from Page 18

faces of those about you give
a natural, pleasing effect.
Then when you again make
movies and there is a close-
up to film out of doors, ar-
range to shoot it near a tree
where the sun will filter

through the leaves over-
head and onto your subject.
Of course, some additional
lighting may be needed to
round out the features of
your subject. This can be
supplied by a reflector set

A Tip from HOLLYWOOD

for Personal Movie Makers

IN HOLLYWOOD, they know it takes
the finest equipment to make the fin-
est movies. Studio experience has taught
producers, directors, cinematogra-
phers, and stars that the name Bell &
Howell marks the finest professional
equipment. So, for personal movie equip-
ment, it was natural for them to choose

HOWELL

. , . and they found Filmo built to the same
high precision standards . . . built to give
professional results u ith amateur ease.
That’s why most professionals use
Filmo for home movies. Their example,
surely, is a good one for you to follow'.

Write for informative booklets on
any 8 mm., 16 mm., or 35 mm. motion
picture equipment that interests you.
Bell & Howell Company, 1825 Larch-
mont Ave., Chicago; New York; HoIIy-
w'ood; Washington, D. C.; London.
Established 1907.

Your opportunity to get the screen that will do full justice
to your pictures. Why be satisfied with an inferior screen
when Lafayette offers the finest at this low price.

Selected superfine quality beads on o pure white screen,
guaranteed not to discolor, give your pictures odded bril-
liancy and detail. Easy to set up and take down, the screen
rolls up into a tubulor case. Supplied with sturdy, crackle-
finish folding tripod, with rubber protecting feet.

Send money-order or check today for a Lofayette Beaded
Screen, and see your movies at their best. Leatherette
boxed models (without tripod) ot the same prices; specify
which you prefer.

SEND FOR FREE LAFAYETTE CATALOG
50 pages of natlonolly advertised cameras and equipment
at money-saving prices. Mall the coupon NOW.

, LAFAYETTE CAMERA

g Dept. 80AI— 901 W. Jackson Blvd., Chicago. Ml.
g or 100 Sixth Ave., New York, N. Y.
i □ / enclose f Rush my order.

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JAMAICA, L. I,

PAGE 40

HOME MOVIES FOR JANUARY

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up out of camera range so
that it will throw added
light into the scene. This
light will not be as intense
as the sunlight filtering
through the leaves and the
contrast of the two will
prove very effective.

Where trees are not con-
venient to your action, fol-
low the professional’s tech-
nique. Drive a stake into
the ground near your cam-
era and tie a branch to it
in such a manner that its
shadow will be cast into the
scene. Lacking the stake,
have an assistant hold the
branch and move it gently
to similate swaying in a
breeze.

In interior scenes, a bare
wall can be balanced for
composition with shadows
just as well as with pictures,
drapes, or by placement of
chairs, tables, etc. A wooden
stool placed in front of a
spotlight at different angles
can produce many interest-

ing shadow patterns. Such
effects are always better
against light backgrounds.

Frequently action out of
doors is staged against high
walls or with the walls of
buildings in the immediate
background. I recall one in-
stance where a closeup was
to be made of two Foreign
Legionnaires in a scene with
an Algerian setting. The Le-
gionnaires took their places.
In the background was a
glaring white wall. The cam-
eraman lining up this shot,
noted something lacking in
the scene and ordered a tall
palm tree moved so that the
shadow of its gently sway-
ing fronds would fall upon
the wall just above the
heads of the Legionnaires.

What was the result ? In-
stead of a commonplace
closeup of two persons
against a plain flat wall, this
cameraman injected a little
atmosphere into the scene.
The shadow of the palm not
only added a decorative note

but it served in a subtle
manner to remund the audi-
ence of the tropical locale of
the story.

This same technique may
be followed by the amateur,
whether his movies are of
the baby, or are scenarios
involving a pretentious plot
and an array of ambitious
players. Try throwing a few
shadows into those next in-
timate shots of the baby
or of the family when film-
ing out of door. And indoors
the same effects may be
achieved with ordinary
floodlights if one has not as
yet acquired one of the new
“baby” spotlights now be-
ing marketed for amateurs.

The next time you at-
tend the theatre, look for
these new effects in the
photography. From the pro-
fessional’s work on the
screen you can gain many
ideas that may be applied
in the filming of your own
movies.

of 4

• Continued from Page 17

inner

available, costing anywhere
from a few cents to a few
dollars.

As extra added value, re-
flectors “soften” shadows,
i.e., make them less dense
and more fuzzy, and act as
shields to prevent direct
light from entering the lens.
This latter item is some-
what akin to dropping a few
large bricks on the kitchen
floor while a cake is in the
oven — resulting in a ruined
cake. Likewise, film exposed
to unwanted “spill” light
may become fogged and
therefore ruined.

Reflectors are divided into
two types — floodlights and
spotlights. Floodlights are
general purpose units em-
ploying Photoflood lamps
having a beam spread of
about 50 or 60 degrees.
The new small spotlights
use concentrated filament
lamps, an average of 150-
watts in rating, and some
of them are capable of pro-
ducing either a spread or a
concentrated beam of light.

The R-2 Photoflood lamp
has its Awn reflector built
into the bulb and is about
equal in effectiveness as a
No. 2 in a good reflector.
The convenience of a lamp
of this type should not be
overlooked although from

the standpoint of economy
the No. 2, which costs less
than the R-2, and a reflector
are to be preferred.

Don’t trust your eyes in
judging exposures under
artificial light ; use exposure
tables or an exposure meter.
Don’t estimate distance- — ■
use a yardstick or a tape
measure. As a Ph.D. might
put it, illumination varies
inversely as the square of
distance from the source.
This means that if we have
a light source, say four feet
from a subject, a certain il-
lumination will be obtained
at the subject. If the source
is moved back to eight feet
from the subject, the illum-
ination will not be one-half
that obtained at four feet,
but only one-fourth. If the
light source is moved from
four to four-and-one-half
feet, the illumination drops
slightly more than twenty
per cent.

And what about the pa-
tient, tolerant, understand-
ing spouse? What has she to
do with indoor filming? Just
this. Don’t stretch the pa-
tience, tolerance and under-
standing too far. Blown
fuses can well cause marital
misery. Photoflood lamps
draw very little current for
the great amount of photo-

graphically effective light
they produce. But they do
draw current and therefore
can be sinister villains.

Most home lighting cir-
cuits are fused for 15 am-
peres. This means that an
electrical load of approxi-
mately 15 amperes can be
connected to circuit without
blowing the fuse. Six Photo-
flood lamps No. 1, or three
Photoflood lamps No. 2, may
be used on a circuit which
is protected by a 15 ampere
fuse.

It often happens that about
the time you want to make
some choice shots, your wife
or some other member of
the household will decide to
plug in a waffle iron and
perhaps a coffee percolator,
on the same circuit you are
using for the movie lights.
The chances are that some
of the regular house light-
ing lamps are already on.
You turn on the Photofloods
and BINGO 1 1 ! — out goes
the fuse leaving an unjelled
waffle in the iron, cold cof-
fee in the pot, and a very,
very unhappy mate in a
darkened kitchen.

The moral of all this is —
be sure the circuit is not al-
ready loaded to capacity be-
fore you plug in 500 or 1000

HOME MOVIES FOR JANUARY

PAGE 41

additional watts of Photo-
flood lamps.

As a beginner one should
confine himself to simple
ligtingarrangements. With-
out some attention to where
the reflectors are located,
the results are likely to be
as disappointing as our
brother-in-law’s Christmas
cigars.

Placing one reflector
slightly to one side of the
camera and directing it at
the subject is the simplest
arrangement for indoor
lighting. A modification, and
one which gives a more
pleasing appearance to the
subject, is to locate a large
white cloth or paper on the
other side of the camera up
near he subject but outside
of the view in the camera
fi 'der. It should be so placed
t at it will pick up some of

le light from the source
and reflect it at the subject
“filling in” the shadows on
the shadow side of the sub-
ject, reducing their density
and harshness. (See Fig. 1.)

By employing two light
sources, one on each side of
the camera and out about 45
degrees from the subject, a
tried and true lighting ar-
rangement is obtained. (See
Fig. 2.)

Now in black-and-white
photography, as compared

with photography in color,
it is desirable to have
more light directed at the
subject from one side than
from the other. This is
known as modeling. The
strong or modeling light
should provide at least twice
the illumination furnished
by the second light source
on the other side.

With a two-reflector ar-
rangement, where Photo-
flood lamps of the same size
are used in each unit, the
modeling light should be
positioned only about 70
per cent of the distance
of the other unit from the
subject. In other words, if
one lamp is located eight
feet from the subject, the
one on the opposite side
should be placed about five-
and-one-half feet from the
subject. Where a Photoflood
No. 1 is used in one reflector
and a No. 2 lamp in the
other, the distance of both
sources from the subject
should be the same since the
No. 2 lamp emits about
twice the light of a No. 1.

Limit the action of sub-
jects to within the area .cov-
ered by the beams of light
from the reflectors. Onecan-
not make a panoramic shot
with one or two reflectors.
Once the subject gets away
from the lighted area, you’re
sunk, so just relax the trig-

Movie of the Month

• Each month the editors of HOME
MOVIES select the best picture
sent in for analysis and designate
it "The Movie of the Month." This
movie is given a detailed review
and a special leader is awarded
the maker.

This award does not affect the
eligibility of such films for entry in
the annual HOME MOVIES CON-
TEST. They are automatically en-
tered for rejudging with those films
submitted especially for the annual
contest. Films awarded the honor
of MOVIE OF THE MONTH dur-
ing past 12 months are:

1940

FEBRUARY: "Whistling Wings,"
produced by W. H. Nordin, Aus-
tin, Minn. A 16mm Kodachrome
picture 400 ft. in length.

MARCH: "Checking Off the
Budget," produced by B. W. John-
son. An 8mm Kodachrome film
1 000 ft. in length.

APRIL: "El Lobo," produced by
Demetris Emanuel. A 16mm pic-
ture 400 ft. in length.

MAY: "From A to Z," produced
bv Vernon Altree, Stockton, Calif.
A 16mm Kodachrome film 400 ft.
In length.

JUNE: "Peetle," produced by
Edmund Turner, Detroit, Mich. A

16mm Animated Cartoon, 400 ft.
in length.

JULY: "Song of the Soil," pro-
duced by E. 0. Denny, Buffalo,
N. Y. A 16mm Kodachrome film
800 ft. in length.

AUGUST: "St. Margarets," pro-
duced by Gordon MacCormack,
Montreal, Canada. A 16mm Koda-
chrome film 400 ft. in length.

SEPTEMBER: "Angels Are Made
of Wood," produced by Herman
Bartel, New Rochelle, N. Y. An
8mm Kodachrome film 200 feet in
length. (Winner Lloyd Bacon Tro-
phy, 1940 Amateur Contest.)

OCTOBER: "Driftwood," pro-
duced by A. O. Jensen, Seattle,
Wash. An 8mm Kodachrome film
400 feet in length.

NOVEMBER: "Father's Time,"
produced by Raymond Fosholdt,
Long Beach, Calif. A 16mm pic-
ture, 400 feet in length.

DECEMBER: "Spokane and The
Inland Empire," produced by Bur-
ton Belknap, Spokane, "Washington.
A 16mm Kodachrome picture, ap-
proximately 800 feet in length.

1941

JANUARY: "Three Wishes" pro-
duced by Earl Cochran, Colorado
Springs, Colorado. An 8mm Koda-
chrome picture, 125 feet in length.

ger finger and save film.

Dark surroundings absorb
light like a dunked dough-
nut absorbs coffee. An ex-
posure meter takes this into
account. Exposure tables, in
general, do not. A wise pre-
caution, therefore, is to open
up the lens diaphragm about
one-half stop larger than in-
dicated in the table when
walls and ceiling are dark.

So perish the thought of
putting that new movie cam-
era away until winter snows
thaw and Spring brings
milder shooting weather.
Some of the best movies are
made indoors. An additional
investment of 50 cents for
two Photoflood bulbs, the
purchase of a couple of in-
expensive aluminum reflec-
tors, and you will be all set
for your first indoor movie.
If you’re handy with tools,
you can make your own re-
flectors out of a pair of
bright tin or aluminum
cooking utensils obtainable
at the dime store, plus a
couple of light sockets.

There’s an exposure table,
elsewhere in this issue, that
will guide you in filming in-
door movies. It tells the ex-
posure required according
to the number of Photoflood
lamps used and indicates the
distance they should be
placed away from the sub-
ject for each given expo-
sure. Study this chart and
use it when making movies
indoors with Photofloods.

,.y^duancecl

^ine^iimers

• Continued from Page 8

ton, Arthur H. Hart, J. T.
Mullins, and Walter E.
White.

Mrs. Ray Merville, whose
husband before his death
served on the editorial staff
of Home Movies and whose
original idea culminated in
formation of the club, was
voted a lifetime honorary
member.

In This Issue

Three articles appearing
in this issue will prove es-
pecially interesting to the
advanced amateur: “Shad-
ows Lend Artistry to Cine
Potography,” by Arthur
Miller, A. S.C., one of 20th
Century-Fox’s ace cinema-
tographers; “Glorified 16’s
Bag of Tricks,” by Arthur
Hart, whose creation of the
“Glorified 16” has aroused

HEN lighting
conditions are he-
low normal — dimly lighted inte-
riors, evening scenes, woodland
shots, etc. — here’s the ultra-
rapid lens that yields properly
timed negatives. Fine optical
corrections — ideal for color
movies. Made in 1 " and 2 ' focus
for 1 6 m fn a n d ^4 "
focus fl.9 for 8mm
movies.

WRITE FOR FREE BOOK!

WOLLENSAK
OPTICAL COMPANY

536 Hudson Avenue Rochester, N. Y.

NO FINER

TRIPOD

THAN THE

TRI-METAL

A Thalhammer TRI-METAL Tripod is the
ultimate in quality and beauty. Such pat-
ented exclusive features as Rigidiied con-
struction . . . quick locking screw plug . . .
SURE-FOOT Points . . . and a smooth act-
ing, precision pan tilt head contribute to
the making of an outstanding tripod. The
utmost strength, sturdiness and versatility
are combined with a strikingly handsome
appearance. It's popularly priced at $18.50
complete.

BUY IT AT YOUR CAMERA
DEALER'S TODAY!

THALHAMMER CO.

1015 W. Second St. Los Angeles, Calif.

PAGE 42

HOME MOVIES FOR JANUARY

Bass bargained and bought , . .
at a special price . . . this

SPORTSMAX TRIPOD
with Pan Head

Two section seasoned hick-
ory, quick lock, no slip, pan
and tilt head with handle —
for cine or still cameras.
Postpaid anywhere in USA.
COMfLETE, 5g95

W'^rite for FREE Cine Bargaingram

> CAMERA Ca

IT9W. MADISON ST H. M.
CHICAGO.ILL.

0OSS

Scenes that
never fade

May be assured for many
years.

Have your color film and
black and white treated
now.

O'SULLIVAN FILM PROCESS

5184 Santa Monica Blvd. Hollywood, Calif.

DE LUXE FILM CASE

8mm . . . $3.75 16mm . . . $5.00

See December issue, page 621, for specifications.
Or write for complete details. Order direct or
from your dealer.

Dealers, Write for Discounts

GEO. T. PURVES COMPANY

519 West 40th St. Indianapolis, Ind.

Save Money! . . .

USE THRIFTY 16mm FILM

THRIFTY ORTHOTYPE

For OUTDOOR . . non-halation
base, fine grain, fast . . Machine

processed. Per 100-ft. rolls

THRIFTY Panchromatic $3.75

THRIFTY Super-Panchromatic $4.25

Thrifty Films save you 50%. Three films to choose
from — each a leader in its class. THRIFTY FILM is
a proven value and our complete laboratory is one of
the best in the West.

California Buyers Please Include Sales Tax

Sold and Processed Only by

THRIFTY FILMS

Drawer 98, Watts Station Los Angeles, Calif.

“Professional” Panning Made Easy!
Sensational invention allows you to ad-
just panning friction to YOUR feel.
Smooth 360° panning; 160° tilt. Rigid
airplane metal construction.
Complete unit, Tripod and Head, $15.75
Write for Free Booklet to
1000 K, Mountain,, Glendale. Calif

considerable interest in am-
ateur cine circles; and
“School Sells Activities with
16mm Movies,” by Ira Lan-
celot, Jr., which describes
the strides made by one edu-
cator in producing school
movies.

Aircraft Film

Bill Ehring, Hollywood

cine photographer, has just
completed a 16mm film for
California Aircraft Corp’n,
on the subject of training
youth for America’s new de-
fense program.

The picture, approximate-
ly 700 feet in length, and in
sound, runs 30 minutes. Dis-
tribution is free to teachers
and instructors in high

schools ; also to public libra-
ries.

Also lined up for future
production by this progres-
sive cinefilmer are two pic-
tures to be produced in
16mm in color and sound.
Ehring will use one of the
new Berndt-Maurer 16mm
sound cameras and record-
ers for this job.

c Continued from Page 22

sawtoothed, wavy, boxed,
mitered, etc., may be used.

In performing a regular
wipe, one will not need to
watch the footage counters,
as the position of the fan
will indicate where to stop
and start.

In making a fade the cam
is chosen to correspond with
what exposure is being used.
That is, if a reading of f/5.5
is established as the correct
exposure, the f/5.5-0 cam I
is used. This will close the
lens from f/5.6 to infinity
over a space of two feet of
film from start to finish.

Placing the cam actuator
on the effects shaft bush-
ing so that the lens will be
closed as the slide (J)
shown in Fig. 4 is moved up
the f/5.5 cam is then placed
on the shaft (K) . The lower
footage counter (L) is set
at 0000.0.

When ready to start the
fade, press the effects shaft
button ( E) , causing the cam
to rotate and close the lens
down. Watch the footage on
the lower counter as it
reaches a point where it
reads over two feet and stop
the camera. This completes
the fade.

A fade-in is made in the
same manner, but instead
of using a cam to close the
lens, one is used to open it.
By winding the film back
to where the lower counter
reads 0000.0 again, and
starting a fade-in, the result
will be a lap-dissolve, or
where one picture seems to
melt into the next one.

In making the fade-in, the
correct exposure is obtained
first. Let’s say it is f/ll this
time. The cam actuator (J)
is swung over to the other
side of the lens so when the
cam rotates it will open the
lens. The f/ll cam is placed
on the effects shaft so it is
at its lowest point. Press

the effects shaft button (E)
to mesh the gears. Start the
scene and the lens will be
opened only to the point of
f/ll, taking just two feet
of film to do this. Regard-

less of the cam chosen, but
two feet of film will be con-
sumed to make the fade, in-
suring a perfect match be-
tween the two.

When away from home

EXPOSURE TABLES FOR PHOTOFLOOD LAMPS

For Use With Good Reflectors

Distance ’Diaphragm opening for Aims with

Lamps Weston Mazda speeds of:

Photoflood

Lamps

Subject
in Feet

iV2

f2.8

f3.5

f4.5

f5.6

f6.3

f2.8

f4.5

f5.6

4}4

f1.9

f3.5

f4.5

f2.8

f6.3

SVi

f1.5

f1.9

f3.5

f5.6

One

f1.9

f2.8

f3.5

f6.3

No. 1

6J4

f4.5

Lamp

f1.5

f1.9

f2.8

f5.6

fi.5

f2.8

f4.5

6V2

f1.9

f3.5

fi.5

fl.6

fi.5

tl.9

f2.8

f3.5

^y2

f3.5

f4.5

f5.6

f6.3

f3.5

f4.5

f6.3

4>4

f2.8

f'5.6

f8.3

f3.5

f4.5

f5.6

f2.8

f3.5

f5.6

f1.9

f2.8

f4.5

Two No. Vs

f4.5

f6.3

f2.8

f3.5

One No. 2

f1.5

f1.9

f3.5

f5.6

fB.3

6V2

f2.8

One No. R2

fi.9

f3.5

f4.5

f1.5

f1.9

f2.8

f5.6

f1.5

f2.8

f1.9

f3.5

f4.5

f1.5

f1.9

f1.5

fi.9

fZ8

f3.5

f5.6

f4.5

f5.6

fi6

t3.5

f4.5

f6.3

f2.8

f5.6

iV2

f3.5

f4.5

f6.3

f3.5

f5.6

f6.3

Three No. Vs

iV2

f2.8

f3.5

f4.5

f5.6

P/2

fi.9

f2.8

f4.5

One No. 2

8/2

f2.8

f'3.5

f4.5

f6.3

and

9/2

f1.5

fi.9

f3.5

f5.6

One No. 1

fi.9

f2.8

f'3.5

f6.3

f2.8

f4.5

f5.6

12/

fi.5

fi.9

f1.5

f2.8

f1.9

f3.5

f4.5

fi.5

3/2

f5.6

f6.3

f11

f4.5

f5.6

f8.3

fi6

f3.5

f4.5

f5.6

f6.3

f16

Four No. Vs

f4.5

f2.8

f3.5

f4.5

f5.6

f6.3

Two No. 2’s

f6.3

f3.5

f5.6

fil

Two No. R2's

Pei

f2.8

f4.5

f3.5

f5.6

One No. 2

f1.9

f2.8

f4.5

and

f2.8

f3.5

f4.5

f6.3

Two No. Vs

f1.5

f1.9

f2.8

f3.5

f5.6

One No. 4

f1.9

f3.5

f6.3

f2.8

f4.5

fi.5

fi.9

f5.6

f1.5

f2.8

fi.9

f3.5

f4.5

fi.5

•For Weston speeds of popular films refer to Exposure Meter Guide on another page.
(See table of contents).

This data based on interiors and subject of medium color.

For light colored subjects and interiors close diaphragm one-half stop.

For dark colored subjects and interiors open diaph.'agm one-half stop.

HOME MOVIES FOR JANUARY

PAGE 43

filming pictures, it is often
desirable to enter a title
somewhere in the film with-
out the usual jump from a
scene to a title and back
again.

By keeping track of the
film on the main footage
counter, one may allow foot-
age for the title to be filmed
later, yet continue shooting-
pictures. Let’s take a scene
of, say, a girl and a lamb. A
picture is taken of the girl
walking out toward the field.
Fade the picture out. Now
you would like to enter a
title, “Mary Had a Little
Lamb.” Note the footage on
the main counter, which
might be 63,7 feet. The foot-
age on the lower counter
reads 2.4 feet. Deducting
this from the top reading
gives the starting point of
the fade, which would be
61.3 feet.

Write this down so it can
be referred to later. Now
the title, “Mary Had a Lit-
tle Lamb,” can be easily
read in five seconds or two
feet of film for it. Leaving
a blank space in the film of
two feet for the title, cap
the lens and run the read-
ing up to 65.7 feet. On the
notation made shortly be-
fore make it now read “Title
start fade-in 61.3 feet, start
fade-out 65.7 feet, ‘Mary
Had a Little Lamb.’ ” The
next scene of the little girl
with her lamb is faded in
from the starting point of
65.7 feet, ending the scene
as desired.

Upon returning home, or
where titling facilities are
available, the film is re-
wound and placed into the
camera again. Run it up to
the point of 61.3 feet, shoot
the title starting the fade-
in and when 65.7 feet shows
on the counter, start the
fade-out. The result, a little
girl walking out toward the
field, lap-dissolve into the
title, “Mary Had a Little
Lamb,” with a lap-dissolve
into a scene showing Mary
with her little lamb.

This produces a very
smooth flowing sequence,
and the results are more
than gratifying as the limi-
tations to this scope of work
is by no means narrow.

Superimposing of titles
across scenes is accom-
plished much in the same
manner, only, instead of
leaving a blank space in
the film, the footage is not-
ed where the wording is to
be started and ended. This

is not as difficult as it might
sound. Usually it is a good
idea to keep track of the
footage on each scene. This
way it is quite easy to boil
down the exact points of
starting and stopping.
Should one desire to super-
impose some wording in a
scene at any point in the
film, all that is necessary is
to press the effects shaft
button at this point while
taking the picture. Sub-
tracting the footage shown
on the effects counter from
that of the main footage
will give the footage point
in the scene for this effect.

If one possesses a vignette,
its use will increase the
number of effects that may
be made with the “Glorified
16,” viz., fade-out/vig. in. ;
fade-out/wipe-in ; fade-out/
fade - in ; wipe - off/vig. in ;
wipe-off/ fade-in ; vig. out/
fade-in, etc. It’s just a mat-
ter of making combinations
out of various effects.

Use of masks will be lim-
ited to the amount and type
made up. To attempt to de-
scribe the different designs
possible would more than
fill this page. However, it is
probably best to start with
a few of the more simple
types first, such as upper
and lower half, right and
left, upper and lower diag-
onals for right and left, key-
hole, oval, binocular and cir-
cle. To name all of the uses
that these may be put to
would be impossible. Imag-
inative creations by the
filmer can only supply the
needed type and the use it
will be put to.

In using masks where half
of the scene is being taken,
then the film wound back
and the other part of the

Thus, after following rules
1, 2, and 3, we find one of
the rolls of our films thread-
ed on the projector and we
are about to review it as a
preliminary step to editing.

We project the film to the
end without stopping the
projector, meanwhile mak-
ing mental notes of things
to do for its irhprovement.
Then we project it again,
and perhaps a third time,
until our original editing
ideas have jelled. Then we
take the film to the editing
board and there we start to
snip. Off comes that per-

film exposed to the same
scene, it is a requisite prob-
lem that the camera be
mounted on a very solid
foundation. A tripod of the
surveyor’s type will fill the
bill quite nicely if the legs
are spread so their angle is
some 45 degrees from the
vertical plumb.

If this is not done there’s
a possibility the camera may
shift slightly. The two pic-
tures would not match at
the dividing line. There
would be no perfect blend
between them.

Making different pictures
to be split up, however, will
afford no special trouble in
the tripod line, and in many
instances may be taken with
the camera held in the hand.

Any and all of this woi’k
necessitates that the effects
counter be used for keeping
track of the film used. In
this way it will be possible
to start and stop at any giv-
en point with absolute accu-
racy.

Some combinations made
during filming will require
the use of both of the coun-
ters. Before closing, one lit-
tle item that may be of help.
The masks are placed be-
hind the lens, and as the
lens inverts the image be-
ing taken, the openings in
the mask will be opposite to
that as viewed through the
finder.

In other words, that por-
tion being viewed through
the finder, say the top half,
will be exposed on the bot-
tom half of the film. Views
on the right side of the find-
er will be exposed on the
left side of the film, and vice
versa.

f orated and partially fogged
ten or 12 inches at the be-
ginning. Even if it repre-
sents most all of the first
scene we made, out it comes
and into the wastebasket
with it! There’s no sense
projecting it when all we
see is a vague image of the
scene mixed with intermit-
tent flashes of light from
fogged areas, plus the flash
of dots on the screen from
the perforated serial num-
ber.

Next we come to those
five or si.x frames — the be-
ginning of a scene we had

^J^ow to edit ^our fifdt

movie

• ConUnued from Page

Raven DUPLEX Screen

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See them at leading dealers everywhere.
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1 31 9 Vine Street Philadelphia, Pa.

PAGE 44

HOME MOVIES FOR JANUARY

EXTRA "WALLOP"

With Type A Film in Daylight

The PB Movie Filter Kit tor Color Film

$3.95 COMPLETE

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1 PB Haze Filter (for Kodachronie)

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1 PB Filter Pouch

For 8mm Eastman, Belt & Howell, Revere.
Keystone and others.

Order from your nearest dealer or direct from :

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AN INTERESTING ADDITION TO YOUR
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Specify White or Black Letters
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Z We carry a full stock of
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•

One of the
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•

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GIBBS
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just started when the baby
suddenly decided to turn her
back on the camera and tod-
dle out of camera range. A
flash of a few frames is not
a scene.

If we forgot to remove
the lens cap on another shot,
that comes out, too ; as does
the scene made by the Mrs.

— first time she ever held
the camera in fact. Phooey !
What a shot ! A little on the
frugal side, she wanted to
make a picture of the flower
garden to show to the folks
when next they visited. So,
just so she wouldn’t use too
much film on the shot, she
gave the scene a quick once
over — whoof ! like that ■ —
from left to right. The close-
ups of some of the flowers
made later saved the day
for the flower garden and,
of course, they stay in.

Along towards the end,
there’s that old trouble ex-
posing the film right down
to the last frame! So we’ve
got pictures mixed with per-
foration marks and fogging
again, and we snip it off.
With the film all spliced
back together, we run it off
on the projector. And we
have to admit it looks a
whale of a lot better. The
only thing lacking now are
the titles. It ought to have
at least an opening or main
title and the finishing touch

— an “End” title. The copy
for the main title is soon
composed and inasmuch as
it’s such a small job, we send
it to a title maker.

Six months later it’s quite
a different picture. We’ve
acquired a lot of practice
and ideas, too, on editing;
and now we’re putting all
our films together — those
subjects that relate to one
another, of course — com-
bining them on one reel.

The real test of our edit-
ing knowledge thus acquired
is in our vacation pictures.
Having wisely interested
ourself in editing early in
our movie making career,
we now understand the im-
portance of making close-
ups and medium shots along
with our long shots when
filming, to provide material
to work with at the editing
board.

Our vacation movie opens
with a long_shot showing
our car in the distance en-
tering the gates of a west-
ern dude ranch. The next
scene is a medium shot
showing the car coming to

a stop, the host of the ranch
stepping down from the
broad veranda of his home
to greet us; and then a
closeup as he greets us with
a handshake — long shot to
medium shot to closeup —
just like a regular Holly-
wood movie.

Movies are enhanced by
plenty of close-ups. When
shooting objects that are
closer than five feet to the
camera, the lens will not be
in focus, that is, the objects
will not be sharp on the
screen. However, a supple-
mental lens called a portrait
attachment placed over the
lens for the close-ups will
put the lens in focus and
assure sharp pictures.

Another condition that
will be encountered when
taking close-ups is parallax.
In view of the fact the lens
of the camera is either be-
low or above the viewfinder,
when shooting close-ups, it
will not be centered on the
scene as seen through the
viewfinder. Thus, unless al-
lowance is made for paral-
lax, a close-up of Mother
may cut her off at the chin
or shave off the top of her
head, resulting in a very
displeasing picture. This can

Last year a neighbor
showed his vacation pic-
tures. We never realized un-
til recently what it was that
made them so ordinary and
uninteresting — not until
we saw the results of editing
our own vacation movies.

be overcome by framing the
object in the viewfinder to
the right or left or toward
one corner, depending upon
relation of lens to viewfind-
er on the particular camera
used.

A “movie” camera must
not be kept moving while
taking pictures. The camera
will record the movement,
and if one has the knack of
holding the camera “rock-
steady” while shooting, he
will have accomplished
much toward making good
movies. In other words, the
movement should be record-
ed by and not provided by
the camera. However, when
taking a picture of a mov-
ing object it is entirely
proper to move the camera
slowly in the direction of
the movement, keeping the
moving object always in the
center of the viewfinder to
the extent possible. Never
move the camera fast be-

Exposure Meter Guide

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100

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100

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16mm Sound Pan

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'24

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8mm Regular Pan

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14’

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18*

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Plus

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Superpanex No. 100

100

Super Reversal

Superpanex No. 24

Ortho

•With filter.

ou can mane

• Continued from Page 12

Le ^ood

movies

• • •

HOME MOVIES FOR JANUARY

PAGE 45

cause the result will be an
unpleasant blur on the
screen. If the beginner finds
that he is unable to hold his
camera steady when shoot-
ing, then by all means he
should add a tripod to his
equipment. Steady pictures
on the screen are easier on
the eye and will prove more
interesting to him and to
his friends.

Proper framing of
scenes is also important, be-
cause if camera is not held
straight when the pictures
are taken, they will not look
pleasing on the screen. For
instance, if the camera is
tilted to one side when a
picture of the house is taken
as suggested above, it will
look like it was built on the
side of a hill when flashed
on the screen.

Look carefully at the
scene through the viewfind-
er before pressing the but-
ton to make sure you’re tak-
ing the picture from the
most interesting angle. Tak-
ing a general shot of the
children playing in the yard
while the laundry is out on
the line next door will not
make a pleasing picture.

I do not believe the be-
ginner should be too con-
cerned about his ability to
obtain good exposure. All
cameras come equipped with
an exposure guide fastened
to them, and if its instruc-
tions are carefully followed,
reasonably good exposure
should result from the very
beginning. However, it is
natural that any amateur
becomes accustomed to his
lens openings under certain
conditions as time goes on
and his pictures will im-
prove from the standpoint

in ^iim

• Continued from Page 21

their own ships or be de-
stroyed by British gunfire.

Gensoul is seen reject-
ing the terms. Heliographs
flash his answer: “We will
fight!” Sirens summon the
crews of France’s finest
craft. Decks are cleared.
Sailors take their battle sta-
tions.

Then Britain opens fire!
Fifteen-inch shells, fired
from a distance of seven
miles, begin to fall all
around the French craft.
Soon, Britain’s gunners find
their range ! Shell after
shell falls on battleship and
cruiser, torpedo-boat and
aircraft transport!

Fires break out! Armor
plate crumbles ! A powder
magazine blows up! The
“Dunkerque” is sinking!
The “Bretagne” is in flames !
The “Strasbourg” is badly
damaged, manages to es-
cape seaward, her guns still
firing! Still the terrific bom-
bardment and destruction
continue! French sailors
rush to extinguish flames
aboard ship ... to save the
wounded. France’s proud
battleships are wrecks, her
cruisers limping feebly to-
ward shore, her lighter craft
either beached or sunk to
the bottom of the bay which
is strewn with their wreck-
age! Nearly half of the
naval strength of a major
power is destroyed before

one’s very eyes! History
never was recorded like this.
Never was a major battle
caught in minutest fidelity
of sequence and detail so
faithfully !

Watching the Tacoma
Bridge sequences, one can-
not believe that such things
actually happened! Yet the
camera recorded them.

This portion of this most
extraordinary home-movie
opens with scenes taken
during the construction of
the six million dollar Ta-
coma span, third longest
suspension bridge in the
world. Human spiders are
shown, anchoring the giant
cables 17V2 inches thick,
each with the combined
strength of 6,300 wire
strands, to hold the wide
11,000-ton center span,
hanging between two sky-
piercing towers, 400 feet
over the water below.

Then comes Mother Na-
ture, in the form of a 42-
mile gale ! The great stretch
of steel begins to rock, gen-
tly at first, then grotesquely,
one side up the other side
down ! One end high, the
other end low ! The beat of
the howling wind seems to
drive the bridge into a
dance of madness — a dance
that seems to laugh at all
the money and all the
brains that went into its
making, and to leer and

of exposui'e with each roll
of film.

At the very outset the be-
ginner should be cold-blood-
ed when putting his films on
the splicing block. The ama-
teur who relegates to the
waste basket those shots
that are not pleasing to the
eye and thus screens for his
friends’ entertainment only
the best of his footage will
be rewarded by the favor-
able reaction of his audi-
ence.

Here again, proper han-
dling of the camera will re-
duce need for deleting bad
shots to a minimum. If it is
constantly borne in mind
that inferior shots should
be trimmed from the fin-
ished film in order to make
it worthy of screening be-
fore friends, then more
careful exposure, framing,
and focusing is bound to
follow.

• • •

jeer, to the mounting tune
of the howling wind, at the
helplessness of mere man to
do anything about the fatal
dance of steel !

An automobile is caught
in the middle of the gyrat-
ing boulevard. He abandons
his car and, fighting both
gale and crazily-canting
foothold, he manages his
way to safety just in the
nick of time! Girder and
strand, cable and wire can
stand the strain no longer!
Cracking like a crust of
bread the whole center span
plunges first upward ... to
poise a moment before its
final crash into the raging
torrent 400 feet below !

Such films indeed are
treasured gems for any
home movie collector’s li-
brary.

Jitm released

• Continued from Page 25

public buildings, and mar-
ket place in Sofia, the cap-
ital city. The primitive na-
ture of Bulgarian agricul-
ture. Household handi-
crafts, shoeing an ox, har-
vesting crops. The manufac-
ture of cheese from sheep’s
milk in a typical cheese fac-
tory. An agricultural school
in session. One reel (ap-

Model 40 C

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Designed especially for Moving
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• SENSITIVITY: .1 to 4000 toot candles.

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At Your Dealer's, or Write for
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SHELTON, CONNECTICUT

GOERZ

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For 16mm Movie Cameras — voids PARALLAX
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GOERZ Parallax-Free FOCUSER
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. American Lens Makers Since 1 899

PAGE 46

HOME MOVIES FOR JANUARY

NEW ULTRA HIGH SPEED
SOLAR MOVIE FILM

Weston 150. Daylight Mazda 110.

Wide latitude, fine grain. Non-
halation coating. Even most mod-
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the amateur! Costs little more
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25«^ $2-25 56-00 !,r,r $3-50

YOU EVEN PAY LESS for standard speed SOLAH
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Weston 16mm 16mm 8mm
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Prices include 24 hour processing at SOLAR labora-
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400 dealers in 201 towns and cities. If your dealer

hasn't SOT>.‘\U film, ask him to get it for you, or

ot'fler direct from this ad.

SOLAR CINE' PRODUCTS. INC.

3827 Archer Ave. Dept. I -A Chicago, III.

MR. 16mm

PRODUCER

We offer you complete
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BAIA MOTION PICTURE ENG.

259 Gerald, Highland Park
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proximately 400 ft.), 16mm
black-and-white.

“Glimpses of the Near
East” — Impressions of the
countries along the ancient
trade routes between Eu-
rope and Asia. Primitive
farming scenes, oriental ba-
zaars, native handicrafts
such as metal woi’k, pottery,
wood carving, rug weaving.
A mullah school. Modern
transportation. The contrast
between East and West in
the larger cities — modern
buildings; department
stores showing western-
made goods ; motion picture
houses ; modern schools and
a Liniversity. One reel (ap-
proximately 400 ft.) , 16mm
black-and-white.

All films available from
Eastman Kodak Co., Roch-
ester, N. Y., and affiliated
distributors.

The Garden Express

Here is an effective way
to use up those odd shots
and pieces of film that you
never use, but just hate
throwing away:

There is that shot of the
camera traveling up the
height of a skyscraper that
didn’t make much sense
when you returned from the
big town ; that airplane that
passed overhead and you
just had to take a picture
of it, although, now, you
haven’t the slightest idea
why you did; that lengthy
footage of the flowers in the
garden that made a monot-
onous projection ; those ani-
mals in the park that you
shot while trying out the
new telephoto lens. These
and many such shots find a
place in this picture. I know,
because I’ve tried it.

My youngster and several
neighboring children gave
me the idea. In the garden,
they had arranged about six
wooden boxes in a line. This
was their train. One fellow
was the engineer and the
other children, passengers.
They travelled every day,
without moving an inch, in
their “streamliner”; and
their description of the im-
aginary scenes en route was
quite a revelation.

So, with aboupbO feet of
film in the camera and the
cooperation of the children
I made a few shots of them
looking at their imaginary
scenes and pointing high or
low as the occasion required.

• Continued from Page 27

A smaller can “D” holds the
porcelain lamp socket. The
light shines through the hole
in the base of the splicer
and on through the cutter
opening in the splicer itself
over which the film passes.
A shaft “E” and magnify-
ing glass holder “F” were
made of old lamp fixture
parts.

The magnifying glass and
holder swings out of the
way to permit splicing. The
rewinds were constructed
from 25-cent grindstones
from the five and ten, the
shafts having been altered
to take the reels.

With the odd scenic shots
spliced in, quite a novel pic-
ture resulted.

The picture opens with
the children getting in the
“train” and the engineer
collecting his imaginary
tickets; then a shot of the
children waving and shout-
ing “goodbyes.” There is a
scene showing the engineer
tugging on an imaginary
whistle and happy faces of
the others can be seen over
his shoulder.

A closeup shows one child
looking up at the sky, then
another head looks up and
then flashes my old shot of
the airplane . . . Another
youngster tugs at a shoul-
der and points down and in
pops that old telephoto shot
of the animals taken from
the hill . . . All faces turn in
one direction and with a
look of admiration on every
face the picture shows the
flower gardens in full bloom.
The engineer reaches out
of the picture and brings
back a blossom which he
sniffs in an approving man-
ner . . . Again, a youngster
is lifting her head slowly
until she’s almost looking at
the sky and I cut to the shot
of the camera traveling the
length of a skyscraper.

Many other shots are in-
troduced along similar lines
and the picture fades to a
long shot of the “train”
taken from a different angle
and with the children all
waving as they arrive home.

— Sid Lorraine.

n IP

/ W •

•

r'Keex

1 rl/[ouieS .

\ flflflflflflRRBBBCCCCCDDOD
j DCEEEEEEEEEFFFF66GGHHHH
r mimujjKKKLLULmfnfiimn
nnnflnnRQQQOQOPPPPPDOR
RRRRRRRSSSSSSSSTTTTTTT

Tuuuuififiriijujujmvvzzs?

II22334455BB77B899D0::;

TITLES

make movies
talk for
themselves ■

Why not take full advantage of the
pleasures of your hobby? When you
fail to title your films . . . you fail to
enjoy the thrill of making a real fin-
ished home movie.

Ask your dealer about the PIN AND
SANDED BACK TITLE LETTER SETS.
They ore ideally suited for making
theatre quality titles with any 8mm
or 1 6mm camera.

PIN LETTER SETS

$5.50 Up

SANDED BACK LETTER SETS

$4.75 Up

IFrife for Descriptive Literature and
Information on Our Complete
Line of Letters

MITTENS LETTER
COMPANY

REDLANDS, CALIFORNIA

HOME MOVIES FOR JANUARY

111

i'!i

J new to

• Continued from Page 6

and will make available to
the public full Kodachrome
prints of this famous an-
nual event in 400 foot reels,
either sound or silent. This
announcement should prove
especially interesting to
those amateurs who fail to
make their own movies of
the parade this year, and to
cine enthusiasts unable to
journey to Pasadena for this
year’s event.

New B&H Speaker

The 'Orchestricon is the
name of a new high fidelity
speaker just introduced by
Bell & Howell, Chicago. It
is designed for permanent
installation and, according
to B&H, is really a self-con-
tained speaker system with
a frequency divider network
that distributes the high
frequencies to a multi-cellu-
lar horn, and the low fre-
quencies to an 18-inch cone.

A built-in tone compensa-
tor permits adjustment for
the acoustical peculiarities
of any room.

A volume exceeding that of
smaller speakers is claimed
for the Orchestricon. It was
designed for use with Filmo-
sound 16mm s.o.f. projec-
tors, but it may be used with
other amplifier equipment,
including public address
systems and turntables with
proper available matching
units.

B&H Title Service

F or producing home movie
titles on moving back-
grounds with black and
white or Kodachrome film.
Bell & Howell have just in-
troduced a title card service
with which amateurs can
make their own professional
looking titles.

The amateur receives a
card or cards with his re-
quested lettering upon it.
The lettering is done on
white or jet black back-
grounds, said to be particu-
larly fitting for double ex-
posure titles. The cards are
available to fit the Filmo 8
and 16mm titlers, and in
any other size up to 5x7
inches.

There is a choice of two
styles of lettering — hand
lettered, or in the same
Gothic type face used in
B&H handset Title-Craft
titles.

11111

Backgrounds

By Felix Zelenka

APRIL may

SEPTEMBER

OCTOBER

mondat ^

Jk t JOIY \

1946 '

•aogost

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PAGE 47

PAGE 48

HOME MOVIES FOR JANUARY

uniismiD • nDvmmiiic

• Ten cents per word; minimum charge, $2.00 cash with order. Closing date, tenth
of preceding month. • HOME MOVIES does not guarantee goods advertised.

• Send ads to 6060 Sunset Boulevard, Hollywood, California.

FILM RELEASES FILM RELEASES

EQUIPMENT FOR SALE

• BASS SAYS: New Year means new bargains
. . . inventory clearance.

USED CAMERAS

8mm Cine Kodak Model 20, F :3.5 lens, $19.75.
8mm Movikon, F :2 lens, case. $137.50.

16mm Cine Kodak B, F:3.5 KA lens, $22.50.
I6mmCine BB. F:1.9 lens, with case, $37.50.
!6mmFiImo 70-A, F:3.5 Cooke lens, case,
$37.50.

i6mniCine Kodak B, F;1.9 KA, $42.50.
l6mmBelI & Howell Model 141 Magazine,

Cooke F:2.7. $75.00.

16mm Cine Kodak Magazine, F:1.9 lens, case,
$85.00.

I6mm Bell & Howell Model 141 Magazine, Wol-
lensak F;1.5 in focusing mount, $92.50.

Bolex 16, Hektor F;1.4 lens with carrying case,
$225.00.

INVENTORY SPECIAL: Brand new 50-ft.
Excel 16mm, F:4.5 lens, $9.75.

USED PROJECTOR BARGAINS
I6mm Kodascope B. automatic threading, with
case, $32.50.

Ampro AS, 400 watt, with case, $47.50.

16mm Bell & Howell Diplomat, 750 watt, with
case. $ 1 3 5 .00.

I6mm Bell & Howell Showmaster, 1600-foot
reels, with case, $142.50.

For trades that are fair and for everything in
Cine Apparatus, 8mm, 16mm, or sound, you
must send for our 84-page BASS Cine Bargain-
gram. most complete exposition of Cine Equip-
ment. Free on request.

BASS CAA4ERA COMPANY
Dept. HC ! 79 W. Madison St. Chicago, 111.

• BOLEX 16mm Camera, with 1" Hugo-Meyer
f/1.5 lens, and case. Used only few times. Like
new. Original cost, $300.00. For quick sale,
$200.00. Dept. J-I, HOME MOVIES, 6060
Sunset Blvd., Hollywood, Calif.

• PROJECTOR. Keystone 16mm, 750 watt
(barely used). Also Keystone 16mm camera,
f/3.5 lens. Sacrifice. Write RUS SAKKERS,
Box 211, Holland, Michigan.

• AMPRO PROJECTOR — Practically new,
16mm, 750-watt, pilot light, new bulb, fully
reconditioned. Cost $175, will sacrifice for
$95.00. Box 5, HOME MOVIES. 6060 Sunset
Blvd., Hollywood, Calif.

• 16MM ENLARGER. Made by Eastman, with
projector for lamphouse. Gives enlargement ap-
proximately 4x5 of your 16mm frame- Can also
be used as viewer for editing. Originally sold for
$90.00. The first $20.00 takes it. Perfect con-
dition. Box RR, Home Movies Magazine, 6060
Sunset Blvd., Hollywood, Calif.

• PROJECTOR, combination 16mm and 8mm
Ditmar. You can show either 16mm or 8mm pic-
tures on this 500-watt projector. Switchover
very simple. Original price more than $200.00.
For quick sale, $125.00. A-1 condition. Box

RT, Home Movies Magazine, 6060 Sunset Blvd..
Hollywood, Calif.

• MOVIE Cameras, Films, Projectors, etc.,
bought, sold, and exchanged. Big lists Free.
Art samples, 25c. PEERLESS, Box 1310-H.
Hollywood, Calif.

• BARGAINS galore! 16mm — 8mm projectors,
supplies, library films. Complete home movie
listings. Free. NO-WAT-KA, 11 River Drive,
Passaic, N. J.

• TURRET Stewart-Warner 16mm camera, mul-
tiple speeds alignment gauge, focusing tube — all
specially built accessories. Alignment gauge and
focusing tube permits accurate centering. First
$50.00 takes it. May submit money through
HOME MOVIES magazine for assurance of con-
dition and positive delivery of camera. BOX
HH. HOME MOVIES MAGAZINE, Flolly-
wood, Calif.

• EXAKTA reflex camera, vest pocket film,
F:2.9 lens; flash attachment; leather carrying
case; filter holder and sunshade; and one G.
Filter — very scarce. Will sacrifice complete out-
fit for $100.00. BOX HRH, HOME MOVIES
MAGAZINE. Hollywood, Calif.

TITLING EQUIPMENT

• ADD interest and appeal to your titles . . .
use Mitten title illustros. Pin back title decora-
tions to fit every season of the year. Write for
catalog on the entire Pin Letter line. Mittens
Letter Co., Redlands, Calif.

MOVIE SCREENS

• HAVE your movie screen tailor made to fit
your home. We prepare at low cost beaded screens
to fit every movie making need. Tell us your
screen problem, giving exact dimensions, etc.,
and we will be glad to quote our price. Holly-
wood Cine Products Co., 3221 S. Figueroa St.,
Los Angeles, Calif.

• NEW TRAVELOGUES — over 200 feet,
$1.75. Free Storage can. Art sample, dime, re-
funded. ARTCRAFT, 1219 East 6th Ave., Gary.
Ind.

• LATEST 8-l6mm War, Comedy, Travel, Un-
usual Subjects. Send 10c for sample and lists,
A personal service. RIO. 413-H Elmira, N. Y.

• SOUND and Silent Films exchanged, bought,
sold, rented. Bargains always. New Free lists
FRANK LANE, 5 Little Bldg., Boston, Mass

O ANNUAL Close-out of 16mm sound and
silent movies. Yearly event. Large selection —
features, comedies, cartoons, novelties. Send for
your “.AMATEUR MOVIE SPECIAL” today.
Specify sound or silent. INSTITUTIONAL
CINEMA SERV^ICE, Inc., 1560 Broadway,
New York City,

• PRI\ ATE I6mm silent library for sale. Com-
edies. features. Will sell films individually. No
dealers. BAND, 369 E. 55th, Brooklyn. N. Y.

FILM RELEASES

• 8mm FILMS! Castle. Official. 180 ft., new
— $5.50. Used — $3.85. Liberal allowance for
your films. RIEDEL FILMS, 2221 W. 67th St..
Cleveland, Ohio.

• UNUSUAL ART Film Catalogue, All latest
releases. Send 10c for sample. ERWINES CINE
LABORATORIES, 43 North Ninth St., Allen-
town, Pa.

• LARGEST 8mm — 16mm Rental Library. We
pay both ways. Send for free Catalogue. ABBE
FILMS, 1265 Broadway, New York City.

• 8mm KODACHROME movies of Tulip Time
and Northern Michigan. Send for list. G. J.
GLUPKER, 45 E. 21st St., Holland, Mich.

FILM

• BULK FILM — Aerochrome Reversal : Speed
8-2, double 8 or 16, 400 ft. $3.75, 100 ft. $1.25.
Aeropan Reversal: Speed 24-16, double 8 or 16,
400 ft. $1 1.25, 100 ft. $3.10. Superaero Pan:
Speed 50-40, double 8 or 16, 400 ft. $12.50.
100 ft. $3.40.

SPECIALS LIKE NEW: Univex B-8 camera,
P-500 projector, 2 rolls Ultrapan, 30x40 crystal
screen, regular $59.3 5, at $47.50. Excel model
40 camera, model 32 projector, 2 rolls ortho film,
30x40 crystal screen, regular $53.50, at $42.50.
Chemicals, accessories, Castle Films.

R. C. CAMERA & PHOTO SUPPLY CO.
3357 East 66th St. Cleveland, Ohio

• JUST what you have been waiting for! —
8-8mm Hi-speed Ortho daylite leading film.
Weston 16, 32 ft. 95c. S. S. Pan, 8-8 or I6mm,
per hundred feet, any speed, $2.95. Regular 8-8
or 16mm per hundred feet, 95c. Postage extra.
BOYD LABORATORY, Ashton, 111.

• SPECIAL! 25' 8/8mm, Weston 8. 7Sc. 25'
8/8mm, Weston 24-16, $1.35. Daylight loading.
Prices include proceslng. RITTER FILM SER-
VKIIE, 629 Lyman Ave., Oak Park, III.

TITLING SERVICE

• PRINTED Title Cards to your order for type-
writer style titlers, seven for $1.00. Sample and
details for 3c stamp. ELTON JOHNSON, 2406
Anson Road, Dallas, Texas.

FILM

• TITLES printed, eight words or less — 8mm,
15c; 16mm, 20c. Minimum order, $1.50. Sam-
ples and complete hand lettered “The End,”
10c. State size. MIDWEST TITLE SERVICE.
1024 Quincy, Topeka, Kansas.

• MAIN TITLES — hand set. Distinctive pho-
tographic backgrounds. 3 for $1.00, Send trial
order or write for samples. CINE-KRAFT, Man-
kato, Minn.

PROCESSING SERVICE

• MOTION Picture Processing: 100' 16mm,
75c. 50' 16mm, 50c. 25' 8/8mm, 35c. 25'

8mm, 25c. RITTER FILM SERVICE, 629 Ly-
man Ave., Oak Park, 111.

EXCHANGE OR TRADE

• SHOTGUNS. Target Pistols and Binocu-
lars accepted in trade on everything photo-
graphic, including Liecas, Contaxes, Eastman
and Bell & Howell motion picture equipment
and Da-Lite Screens. Write for Catalog. Con-
venient time payments may be arranged on any-
thing new or used. NATIONAL CAMERA EX-
CHANGE. Established in 1914. 11 So. Fifth
St., Minneapolis. Minn.

HOBBY BOOKS

• Are you a “beginner” in the ranks of ama-
teur movie makers? Would you like to know
how to use your camera to the very best advan-
tage, yet avoid the mistakes and wasted film
that so often results from lack of knowledge of
fundamentals of cine camera operation?
order a copy of “Flow to Use a Movie Camera.
Just 50c, and well worth it.

Would you like to learn how to process your
own movie film so that you can buy inexpensive
film in bulk? Let us send you “How to Proc«s
Home Movie Film,” a book chock full of in-
structions and advice by experts plus complete,
easy-to-understand plans for building your own
simple processing equipment. Sent postpaid
for 50c.

Would you like to know how to make your
own titles? What equipment to use — what ex-
posure to use — all about auxiliary lenses — title
areas, etc? Would you like complete plans for
building a very simple and versatile home
movie titler? Then send for “How to Title
Home Movies” — the latest and one of the most
authentic books ever written on the subject.
Price $1.00 per copy. We pay the postage.

VER HALEN PUBLICATIONS
6060 Sunset Blvd. • Hollywood. Calif.

J'J'ave joined tlit

REEL FELLOWS?

Sponsored exclusively by Home Movies Magazine, the REEL
FELLOWS is a friendly, chummy, coast-to-coast organization
of movie amateurs whose purpose is to further the pleasure of
amateur movie making and to encourage a wider and more
beneficial contact among amateurs.

If you shoot 8mm or 16mm movies, or if you are interested in
any of the aspects of amateur movie making, you are invited
to become a member of the REEL FELLOWS. $1.00 member-
ship fee is so low no amateur can afford not to join.

Wear your REEL FELLOWS pin to identify you wherever you
go! Upon receipt of your membership application, you will
be sent membership card, gold pin, and insignia for your
camera. Be the first in your community to join! Fill out the
REEL FELLOWS membership application below and send it
in immediately!

DETACH HERE

MEMBERSHIP APPLICATION

THE REEL FELLOWS

REEL FELLOWS
c/o Home Movies
6060 Sunset Bouleard
Hollywood, Calii.

I am enclosing $1.00 membership lee, lor which please enroll me as a member
of the REEL FELLOWS and send me membership card, gold pin, and camera
insignia.

I have been shooting movies (length of time)
My equipment is: 8mm 16mm

Name..

Address..
City

. State .

This Trophy Awarded

In 1939 . . .

HOME MOVIES’ * ANNUAL AMATEUR CONTEST

Open to All Amateurs!

to Murray Beliz, Sacramento, Calif.,
for his 200-foot picture, "Within the
Garden Gates."

In 1940 . . .

to Herman Bartel, New Rochelle,
N. Y., for his 200-foot 8mm picture,
"Angels Are Made of Wood."

Who will win it in 1941*

Every amateur movie maker has a chance to
win this handsome trophy sponsored by Lloyd
L. Bacon, Warner Brothers' ace director and
first honorary member of the Reel Fellows. Com-
parable in the amateur field to the famed "Oscars"
awarded theatrical pictures, it is probably the great-
est distinction that can come to any movie amateur.
There's a host of valuable prizes, too, for first, sec-
ond, third, and fourth places in each division, to be
announced later.

NOTICE!

Closing date of Home Movies 1941
Amateur Contest has been extend-
ed from June 30 to September 30,
permitting more time for comple-
tion and entry of pictures filmed
during summer months. The con-
test is in full swing, NOW — so get
busy! Watch February issue of
Home Movies for rules of contest.

Price 25c

Febrnary . 1941

b LARCEST CIRCULATION OF ANY AMATEUR MOVIE MAGAZINE!

Oooaio

firei^on

Qono'd

with

der have m
_ond
lithe rnoa
the hire.

ZOO

\6n''^

A new series of Walt Disney’s
Mickey Monse and Donald Dnek Cartoons!

IMAGINE! screening these newer, original
Walt Disney animated cartoons right in your own
home! How your friends will laugh at the antics
of Mickey and Minnie Mouse, Donald Duck, Peg
Leg Pete, and others! Here, indeed, is the spice
for your home movie programs! These new films
are available from your photographic dealer.
Ask him to screen them for you today!

MICKEY'S WILD PARTY 1403-B

Mickey, Minnie and all the other fa-
mous Disney characters put on a party
and make whoopee in a big way. The
police think it a little too gay — which
adds to the excitement.

200-foot 16mm $7.50

100-foot 8mm 3.00

Mickey in Uncle Tom's

Cabin 1406-B

Mickey as Uncle Tom, Minnie as Little
Eva, and Horace Horse Collar as Simon
Legree, stage Uncle Tom's Cabin. All
goes well until some cats get mixed up
with the fake blood hounds — and then
the show breaks up.

200-foot 16mm $7.50

100-foot 8mm 3.00

tt Dealer Can’t Supply You, Send Direct for Catalog to

Storage cans tor 16mm
reels at rock bottom
prices in quantity lots.

20 for . . $1 .00
40 for . . 1.85
100 for.. 3.95

Steel-Flex 400-foot 16mm
reels. 3 for $1.00, includ-
ing storage cans.

Steel-Flex 200-foot 8mm
reels, 4 for $ 1 .00. No cans.

All prices F. O. B.
Hollywood, Calif.

New Mickey Mouse and Donald
Duck cartoons are available in
25, 50, and 100 foot 8mm
lengths, and 50, 100, and 200
foot 16mm lengths. Send for
FREE CATALOG!

Advisory editors

.A. K. BAUIvieARDNEIl ..

Peoria Cinema Club

rER BEZEK > -

Chicago Cinema Club

3AMES BIALSON

Amateur Motion Picture Club of St, Louis

MOSS BROWN

Dallas Cinema Club

DRGE BURN WOOD

The 8-16 Movie Club, Philadelphia, Pa.

AUDE W. A. CADARETTE

Los Angeles 8mm Club

EMERSON CLYMA

Detroit Society of Cinematographers

iSELL A. DIXON.

Pittsburgh Amateur Cinema Club

IRIL DVORAK

Suburban Amateur Movie Club

'HUR E. GIBBS

Portland Cine Club

" A. HOOK

Seattle 8mm Club

^RED F. KAUFMAN

Indianapolis Amateur Movie Club

. NESTELL

Cinemen Club

ICISSE A. PELLETIER

Toronto Amateur Movie Club

J3ERT B. PETERSON

Metropolitan Cine Club

RIEBETH

Minneapolis Cine Club

HEO. ROTH

Sherman Clay Movie Club

p. ROUNTREE

Bay Empire 8mm Movie'Club

^UL SNYDER

Norfolk Amateur Movie Club

p E. SNYDER

Des Moines Y.M.C.A. Movie Club

•• SISSEL

Austin Movie Club

C. ENION SMITH

Metro Movie Club of Chicago

d £1 Second-Class Matter, May 4. I?38. at
stotfice at Los Angeles, Calif., under the Act
of March 3, I87».

■iption rates:^ U, S. S2.00 par year. Canada
treign Countries, $3.00 par year. Single Copies
'*"*'*'*" and Foreign single copies 35c. Copy-
IWO, by Ver Helen Publications. Advertising
. rates on application.

^ . /ome—

MOVIES

Member Audit Bureau of Circulations

CONTENTS FOR FEBRUARY, 1941

it’s new to me

WITH ADVANCED CINEFILMERS

MUSIC HATH CHARMS FOR YOUR MOVIES, TOO ! . .By Maurie W ebster

“pan” results with positive film By John Wilhoit

here’s home-made single frame release for keystone “8”

By Paul Charboneau

“happy landing” lands movie of the month. .By J. II. Schoen

LOCAL GIRL MAKES GOOI>— WITH GOOD MOVIES. . .By Curtis Randall
EDITING, NOT FOOTAGE, MAKES THE PICTURE. .By Gco. IV. Cushman

HOW TO USE YOUR TRIPOD

TITLE EDITING SAME AS IN SILENT PICTURE DAYS. .By A. E. Milford
SHOWMANSHIP IN SCREENING MOVIES “UPS” AUDIENCE

INTEREST By Dr. A. K. Baumgardner

SURELY YOUR MOVIE DESERVES A NAME \. .By Dr. A. K. Baumgardner

THREE STARS FOR THESE THREE Reviews by the Editors

EXPERIMENTAL CINE WORKSHOP

TITLE TROUBLES By George IV. Cushman

EXPOSURE TABLE FOR PHOTOFLOOD LAMPS

BACKYARD MOVIES

WITH THE REEL FELLOWS

THE READER SPEAKS

EXPOSURE METER GUIDE

TITLE BACKGROUNDS

EDUCATIONAL AND DOCUMENTARY FILMS SECTION
OHIO STUDENTS FILM AND RECORD SCHOOL MOVTES. . By BUI A. J ones
LOCAL LIBRARY BASIS OF WEST VIRGINIA’S SCHOOL FILM

CIRCULATION By Godfrey Elliott

DEMONSTRATIONS ON FILM REDUCE CLASS TIME. .By Ira Lancelot, Jr.

iowa’s polk county schools found ,A way!

By George IV. Cushman

“trojan news reel” year ’round filming activity at

U. s. C By Eranklin B. Skeele

75
80

86
87
89
91
97
99

79
79

FEBRUARY

NUMBER 2

VOLUME VIII

REEL FELLOWS

A friendly fraternity of
movie amateurs sponsored
by Home Movies maga-
line. Your membership Is
invited.

CHAS. J. Ver HALEN C. J. Ver HALEN, JR.

PUBLISHER ASSOCIATE PUBLISHER

OFFICE OF PUBLICATION
6060 Sunset Boulevard, Los Angeles, Calif
Phone GRanite 5149

NEW YORK OFFICE
Everett Gellert, 62 West 45th Street
Vanderbilt 6-5254

CHICAGO OFFICE
C. N. Burris, 712 Wrigley Building
Whitehall 7784

ARTHUR E. GAVIN
EDITOR

RAY FERNSTROM

Technical Editor

GEORGE W. CUSHMAN

J. H. SCHOEN
Associate Editors

C. E. BELL
Photographic Editor

L. C. BUSCHER
Art Director

HOLLYWOOD'S MAGAZINE FOR THE AMATEUR

PAGE 54

HOME MOVIES FOR FEBRUARY

CRAIG PROJECTO-EDITOR

For Action~Editing the Hollywood Studio Way

The 8mm model, as illustrated at left, complete with

splicer. Rewind and Film Cement $27.50

8mm Projecto-Editor alone $22.50

16mm model with Sr. Splicer and Rewinds... .$49. 50

CRAIG 16mm SENIOR SPLICER

CRAIG
FOTOF ADE

FOR MAKING PROFESSIONAL-
LIKE FADES AND WIPES

Here's the finishing touch
for all well-edited movies.
FOTOFADE permits the
joining of odd scenes with
smooth fades or wipes- —
dissolving one into the
other without abrupt loss
of continuity so essential to
modern attention -compel-
ling movies. Easy and quick
to use — no special equip-
ment necessary. Bottle suf-
ficient for hundreds of ap-
plications, only $1.00

m •

By CiNEBUG Shopper

Inaueuration Films For the first time in all the history
of home movies, 16mm and 8mm
projector owners may now own and show on their home
screens motion pictures of the inauguration of an Ameri-
can President. Under the

title of “The Third Inaugu- ;
ration of Franklin D. Roose- i
velt,” Castle Films has just i
released what is called by ;
those who have seen it the "i
most significant home movie i\
that has been made since
their inception.

The importance of this re-
lease lies not only in the fact
that it gives the home movie
enthusiast footages of an actual inauguration and especi-
ally of the first ceremony where the same man takes oath
of office as the country’s Chief Executive for the third
time.

It also is a movie of outstanding documentary value be-
cause it provides a true screen-biography of the most
prominent American of our times, and a movie record of
changing national conditions since his rise to public office.
It is a film review of a man and an era. It is the American
scene as affected by the thought and acts of one man.

Mr. Roosevelt’s public career is traced from his earliest
assumption of office as assistant secretary of the navy in
1917. Throughout the reel, the American scene is shown
as affected by the life and acts of one man. It concludes
with a summarization of what the next four years hold
for both the Executive and the country. Among these ques-
tions are aid to Britain; the Far East situation; two-
ocean navy, military training and armament for the big-_
gest peace-time army; a strengthened air force; unem-
ployment ; relief ; the farmer ; foreign markets and finan-
cial re-arrangements.

As an historic document, “The Third Inauguration of
Franklin D. Roosevelt” is unparalleled in importance and
permanent value. In spite of unusual problems in its as-
sembly and editing, this home-movie is available from
photo supply dealers in five sizes and lengths, at the usual
low Castle prices. ]

Processing Kit Superior Bulk Film Co., 188 W. Ran-

® dolph St., Chicago, announce a com-

plete Home Processing Outfit for bulk movie film, which
includes a drying rack, book of instructions on simple
Home Processing, and a
number of formulas.

Outfit is available in two
sizes: One that accommo-
dates 110 feet of film ;
and the 34-foot size for
processing of double 8mm
film in 25-foot lengths.

The New, Revolutionary
Development in the Supe-
rior Home Processing Out-
fit is the “Sliding Bar.” As
film becomes wet, it has a tendency to stretch, thus loosen-
ing on the reel, which causes overlapping and “blank
spaces” on film. By use of the “Sliding Bar,” the film may
be tightened as it stretches, keeping it at a uniform taut-
ness on the reel.

HOME MOVIES FOR FEBRUARY

PAGE 55

FREE

CATALOGUE

Describing more than 100 new Castle
home movies . . . Historic World News . . .
Sports . . .Travel . . . Animated Cartoons!
Send a postcard to the nearest Castle
Films’ office to-day for your copy!

CASTLE films

NEW YORK
RCA BUILDING

CHICAGO
FIELD BUILDING

SAN FRANCISCO
RUSS BUILDING

Please send Castle Films’ “Third Inau-
guration of Franklin D. Roosevelt’’ in
the size and edition checked.

Name . .
Address .
City. . . .
State . . .

Headline 100 Ft.

$2.75

Complete 360 Ft.

$8.75

Sound 350 Ft.

$17.50

8 mm SIZE

Heodline 50 Ft.

$1.75

Complete 180 Ft.

$5.50

16 mm SIZE

A SCREEN REVIEW OF A MAN AND AN ERA

Castle Films brings to your home
screen a U. S. Presidential Inaugura-
tion ! And more ... a living screen-
review of President Roosevelt’s public
career beginning as Assistant Secre-
tary of the Navy in 1917 ... as Gov-
ernor of New York ... as President
of the United States . . . and finally,
the historic filming of the first third-
term inauguration ever held.

This newest Castle film offers a dra-
matic screen-biography of the most
prominent American of our time
... a movie review of a man and
an era.

You can own this professional
Castle movie for less than the cost
of unexposed movie film. It is avail-
able in both 16 MM and 8 MM at
your photo dealer.

PAGE 56

HOME MOVIES FOR FEBRUARY

A New Nirlll From

Your 8 mm. Movies

Complete vsith
Lamp. Accessories
Carryiijg Case

I An “S" with All the

I Features of a ”16"

M The quality of screen projection de-
M termines how much real pleasure you
= derive from your 8 mm. film Now, for
M the first time you can assure yourself
s de luxe 8 mm. projection — with new
P standards of illumination and conven-
H ience of operation with the new
s Ampro "8”.

M Here’s What Ampro “8" Offers You

^ Reverse picture operation for humor-
P ous effects . . . fast automatic rewind-
^ ing . . . 500 watt brilliantly clear illumi-
s nation that brings new beauty to
^ colored movies . . . 400 foot reel
3 capacity . . . flickerless pictures . . .
^ stopping of picture for detailed study

II ... longer film life . . . and many other
3 new and exclusive features.

M Also Complete Line of

J Quality 16 mm. Projectors

H The Ampro line includes 16 mm. silent
^ projectors with superb projection
M qualities — convertible-to-sound mod-
= els — and 16 mm. sound-on-film pro-
^ jectors that offer " theatre quality” tone

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiu^

and illumination plus numerous ex- g
elusive features in design and opera- ^
tion. In thousands of schools, univer- ^
sides, government departments, U. S. g
Army and Navy, churches, clubs and ^
homes— Ampro projectors are ap- ^
proved equipment. H

SEND FOR CATALOG |

giving prices and the full story and g
specifications on the Ampro 8 mm. and ||
16 mm. line of precision projectors. 3
Write to Ampro Corporation, Dept. ^
HM241, 2839 N. Western Avenue, =
Chicago, Illinois. =

AMPRO I

I 1

I' AMPRO CORPORATION (Dept. HM241) ■

2839 N. Western Avenue, Chicago, Illinois I

□ Please sendTne full details on the new |

18 mm. Ampro Projector. □ Also the complete .
Ampro 1941 Catalog on 16 mm. Projectors. I

I Name |

I Address |

I City State I

Beaded Screen ^ 30"x40" beaded screen com-

plete with tripod to sell for less than
$10.00 has just been announced by Lafayette Camera Co.,
901 West Jackson Blvd., Chicago, 111.

The screen, surfaced with
superfine quality beads is said
to be fully guaranteed against
discoloration. Easy to set up
and take down, the screen rolls
up into a tubular case. Sup-
plied with each screen is a
sturdy, crackle finish folding
tripod with rubber protecting
feet.

The same size screen is also
available at the same price in
the roller type, housed in neat
leatherette box. For other type

screens, cineamateurs may refer to Lafayette’s free cata-
log, available on request.

Garmur Cable Release ^ cable release adaptor manu-
factured by Garmur Products
of Los Angeles is now available for the Revere Model 88
Camera. The cable release is equipped with a locking de-
vice which permits the photographer to move in and out
of the picture while the camera is in action or to make
single frame exposures. Use of this attachment frees one
hand completely when the camera is mounted on a tripod
or on the title board. This is helpful in making trick shots,
the free hand can rearrange the titles or work the trick
gadgets on the title board.

The Garmur Cable Release Adaptor and 10" cable is
easily attached and detached. It can be left on the camera
permanently since it does not interfere with loading,
winding or tripod mounting.

A similar attachment is also available for other 8 and
16mm cameras.

Title MekerS Having made titles and trailers for up-
ward of 10,000 theatres in America regu-
larly for 22 years, Filmack Trailer Company has amassed
a collection of nearly 10,000 art and photographic back-
grounds for titling use. This collection of theatrical qual-
ity background subjects, probably the largest and most
complete in existence, is now made available to every
maker of 16mm or 8mm movies, amateur or professional.

The 16mm and 8mm titling service of Filmack Trailer
Co., will be available through its new subsidiary, Filmack
Laboratories, 843 So. Wabash Ave., Chicago, 111.

Black Top Bulbs

General Electric’s lamp department
at Nela Park, Cleveland, announces
an opaque end-coating (black) on seven types of TIO
300- watt G-E Mazda projection lamps. This opaque end

finish — at no additional in-
crease in lamp list price —
brings these lamps in line with
the manufacturer’s 400 and
500-watt TIO, and 750, 1000
and 1200-watt T12 projection
lamps.

The opaque end-coating is
now on all G-E Mazda lamps
used for 16mm motion picture
projectors and on majority of
lamps used in 8mm equipment.

Purpose of the opaque coating is to eliminate need of a
metal cap to trap stray light which otherwise escapes
from the end of clear lamps and shines through the ven-
tilator openings of the projector. It also does away with
the discomfort of removing such a cap from a hot lamp.

WITH A

(Reg. U. S. Pat. Off.)

The Da-Lite Model B Screen is ideal for semi-
permanent installations in game or projection
rooms. 12 sizes, from |7.50 up. Slightly higher
on the Pacific Coast.

Where a portable screen is required, the
Oa-Lite Challenger offers many advantages.
It has a tripod permanently attached to the
case and is the only screen with square tubing
in the center rod and extension support to
keep the case aligned and the entire picture in
perfect focus.

GLASS-BEADED SCREEN

Until you see your pietures on a Da-Lite Glass-Beaded Screen, you
haven’t seen everything that yonr camera has put into the film. On
the Da-Lite Beaded surface, details are knife-edge sharp. Yon will
find all gradations of tone in black and white film more accurately
reproduced. Colors (whether delicate pastels or brilliant reds, yel-
lows, or blues) will be brought out more faithfully than you have
ever seen them before.

Da-Lite’s specially processed Glass-Beaded surface reflects more
light, without sparkle or glare. It is the result of thirty-two years of
screen manufacturing experience. Tests show that the Da-Lite headed
surface stays white and pliable longer than any other surface. Da-Lite
Glass-Beaded screens are made in many sizes and styles, including
the popular Challenger shown above, which can be set up instantly
anywhere, yet folds compactly for easy carrying. See Da-Lite Screens
at your dealer’s today! Write for literature.

DA-LITE SCREEN COMPANY, INC.

DEPT. 2HM, 2723 NORTH CRAWFORD AVENUE • CHICAGO, ILLINOIS

PAGE 58

HOME MOVIES FOR FEBRUARY

RAVEN SCREENS

OFFER THEATER QTALITY, FINER
PROJECTION FOR YOUR

HOME MOVIES

For the best results in home movie projection insist on Raven
Screens. For now these superior motion picture screens,
chosen from among all others by Eastman Kodak for their
gorgeous Cavalcade of Color at the World's Fair, cost you no
more than ordinary screens and mean the difference between
"just good" and "better" projection results. Be proud of your
pictures on a Raven Screen.

DeLUXE AUTOMATIC
COLLAPSIBLE
MODEL

Strong, sturdy construction, the
screen is attached to a special
spring roller mounted in the case.
Its upper edge attached to a suit-
able top cross-bar supported at
each end by self-acting collap-
sible legs. Easily erected and eas-
ily lowered into the case. Avail-
able in five different fabrics in
six sizes, 22"x30" fo 54"x72".
Complete with carrying case.

STANDARD
TRIPOD MODEL

strong construction of
light-weight metal tubing.
Easily and quickly set up.
Can be folded in compact
units when not in use.
Quickly adjustable (solid
view shows screen's great-
est elevation . . . dotted
lines show screen's lowest
elevation). Made in five
fabrics, affractively fin-
ished in dark "crackle"
and equipped with non-
scratch rubber feet. Sizes
30"x40" to 52"x72".

DUPLEX MODEL

Made in five distincfive Raven
fabrics (Haftone, Wifelite, Bead-
ed, White Opaque, Polaroid Sil-
ver), in six square sizes from
30"x30" fo 70"x70". For 8mm,
16mm and especially Kodachrome
picfures rich in-detail are assured.

RAVEN SCREEN CORPORATION 7 New York, N. Y.

TbSStrS-On-Film ^ 16mm film production company
has been organized, called Theatre-
ON-Film, Inc., New York City, N. Y., which proposes
to reproduce on sub-standard celluloid the actual stag-
ing of Broadway’s most
outstanding plays. Headed
by Joseph Pollach, well
known in New York the-
atrical and movie circles,
Theatre-on-Film has com-
pleted its first vehicle.

“Journey to Jerusalem,”
a 90-minute run sound fea-
ture, proves the one point
that makes this company’s
plan appear feasible — that
watching the unfolding of a stage play recorded on film is
more fascinating, more spell-binding than watching the
actors discourse in the flesh. Somehow, the pictorial ver-
sion of “Journey to Jerusalem” blends the realism of
flesh and blood characters with the subtle flexibility of
shadowy screen acting. The distance shots and closeups
delicately timed make a movie out of the play.

The picture itself concerns the story of young Jesus at
the time when his godly status is first revealed. The sub-
ject is beautifully rendered, making the picture ideal for
any type of audience. For further information regarding
rentals on this picture, write to Mr. Joseph Pollach,
Theatre-ON-Film, Inc., 1619 Broadway, New York City.

Vitafilm Said to be particularly adapted for black and
white and all styles of colored nitrate and
safety films is the new Vitafilm Processing Fluid manu-
factured by R. D. Hanish Co., 93 E. Longview Ave.,
Columbus, Ohio.

Other claims for the product is its ability to change the
green state of film emulsions to a fool-proof “fixed” state
and preventing film destruction. Repeated applications
are said to eliminate friction scratches on dirty, dry, and
brittle films.

Interested amateurs are invited to write for free de-
scriptive booklet.

Eoinifif Distributor Available from Fotoshop, Inc., 18
^ East 42nd Street, and 136 West

32nd Street, New York City, are the Eumig 8mm Movie
Cameras.

The C4 model has a unique built-in electric motor drive
which operates on an inexpensive battery possessing suf-
ficient power for 10 rolls (500 feet) of double eight film.
Equipped with governor and safety switch which pre-
vents any accidental exposure, it can be locked for con-
tinuous action. Compact and light-weight, it weighs only
22 ounces and its sturdy metal body is attractively fin-
ished in black crackle. Critical finding with built-in eye-
level finder enables a razor-blade focus on any scene. The
camera is equipped with a Berthiot F/2.5 lens.

The C3 model features speeds of 8, 16, and 32 frames
per second, single frame release for tricks and anima-
tion ; positive built-in view finder, built-in geared footage
indicator; all of which is enclosed in a handsome black
finish metal case with accessory parts chromium plated.
Standard equipment is a Schneider Kinoplan F/2.7 lens.

Recording Booklet

“How to Make Talking Pictures at
Home” is the title of a well written
and illustrated booklet which the Presto Recording Cor-
poration, New York City, are making available to those
interested in their Presto “Synchro-Sound” system re-
cently described in Home Movies.

Treated at length is the manner of application of Syn-

BE PROUD OF YOUR
MOVIES!

Show your color or black and white movies
with a Revere 8mm Projector and you will al-
ways be proud of the theatre-quality brilliance
and steeidiness of your pictures. The Revere’s
efficient optical system (with 500-watt lamp
and FI. 6 lens) makes even your prize scenes
appear brighter and clearer. Thousands of
Revere owners will tell yon that the quality of
Revere projection compares favorably with
that of any 8mm projector, regardless of cost.
Your Revere dealer will be glad to let you
prove this fact for yourself. Ask him for a
demonstration! Write today for literature!

REVERE DeLUXE
MODEL 85 PROJECTOR

This new model has the same basic features
as the Model 80, plus the following refine-
ments:

1. Helical Gear Tilting Device, operated by
attractive Tenite knob, at the base of
projector, provides smooth positive con-
trol in tilting projector for centering the
picture on the screen.

2. Beam Threading Light — illuminates film
gate, lower sprocket and take-up reel to
check threading while the projector is
in operation. Uses projection light. Can
be shut off when not desired.

3. Duo Shield Light Diffuser — reduces ceil-
ing light to a minimum.

4. Rich, leatherette-covered, lined DeLuxe
Carrying Case with special compart-
ments for extra lenses, reels, and other
accessories.

Complete with 500-watt Lamp, FI. 6
Lens and Carrying Case . . . $75.00

REVERE STANDARD
8mm MODEL 80
PROJECTOR

FOR COMPLETE SATISFACTION
USE A REVERE CAMERA, TOO!

Provides maximum screen illu-
mination for sharp, brilliant pic-
tures. Its features include FI. 6
lens, high ratio Duplex shuttle
film movement, rheostat speed
control, 300-foot reel capacity,
double blower cooling system,
enclosed gear and chain driven
rewind (no belts in the Revere!)
Complete with 500-watt lamp
and FI. 6 LENS, $65.00.

Revere Model 88 Camera
has 5 speeds, built-in par-
allax-corrected viewfinder,
film footage counter and
many other modern fea-
tures. Easy to thread. It is
also available with Bausch
& bomb fast F3 lens in
removable Universal Focus
Mounting. Complete with
Wollensak 12.5mm F3.5
lens, $32.50; with F2.5
lens, $44.50. Complete
with Bausch & Lomb
12.7mm F3 lens, $37.50.

Rfvere Modgl 88

Revere Model 99 Turret Camera has, in addition to regular
Revere features — such as 5 speeds. Revere Sprocket-con-
trolled takeup, same system as used in professional cam-
eras (no snubbing of filml, Eastman-type spool spindles —
an extra optical viewfinder for Telephoto lenses. Complete
with one Wollensak 12.5mm F2.5 lens, $65.00.

REVERE CAMERA COMPANY

Rgvtre Model 99

REVERE CAMERA COMPANY* CHICAGO

PHIIADEIPHIA • KANSAS CITY • MINNEAPOLIS • LOS ANGELES • DALLAS

Dept. 2HM, 320 E. 21st St., Chicago, 111.

Please send complete details on Revere Motion Picture
equipment.

Name

Street..
City

State.

PAGE 60

HOME MOVIES FOR FEBRUARY

GET G-E PHOTOFLOODS

and get busy!

• The star is onstage, beginning one
of those scenes so precious to the
home movie maker.

Be sure you're ready with G-E MAZDA
Photoflood lamps, the same high-
efficiency type lamps that Hollywood
uses . . . made to fit your requirements.

It makes no difference whether you’re
shooting color or black and white,
G-E Photofloods give you the kind
of light you need for clear, crisp pic-
tures. Two popular sizes fit most
needs; No. 1, 15c; No. 2, 30c-
And for special effects try handy
G-E Mazda Photoflood No. R-2,
with sealed-in reflector, 85C-

Jt. m

chrosoimd to the production of commercial and educa-
tional as well as amateur motion pictures and explains the
simplified manner in which sound effects, musical back-
ground and commentary dialogue may be added to any
silent 8mm or 16mm film.

Booklet will be mailed promptly to interested amateurs
upon receipt of 25 cents to cover packaging and mailing.

PortsbiG Flood Lights “Gibbs Flood Guns” is the trade

name of a highly efficient acces-
sory for use in making indoor movies. It consists of a
parallel bar which may be attached to the camera by
means of tripod screw. At either end, is an aluminum re-
flector and socket accommodating a No. 1 or No. 2 Photo-
flood lamp.

With the flood gun attached to the camera, one may
film pictures indoors, and move about the scene without
necessity of having to move lamp standards each time.
The lamps move with the camera.

For further information, write to Arthur E. Gibbs,
1925 E. Knott St., Portland, Oregon.

fioaded Scroons Motion Picture Screen and Accessories
Co., Inc., 351 West 52nd Street, New
York City, has prepared an interesting testing kit which
they are making available to amateurs interested in im-
proving projection of their

movies. The kit consists of wide angle crystal beaded fabric

a 5 by 7 inch sample of their I
new Wide Angle Beaded i
Screen fabric and a test
chart for use in testing the
quality of your projected
movies. The beaded surface
of this company’s new type
projection screens is said to
improve visibility of movies
projected in homes where
audiences must be spread
out, some sitting at a considerable angle from the screen.

Amateurs may obtain this test kit free of charge by
writing direct to the manufacturer.

EditinS! Rsck Marathon Photo Supply Co., Wausau,
Wisconsin, announce this month, the
Mara-Movie Editing Rack, an aid to editing home movie
Aims. Substantially constructed, this new editing rack is
provided with an easel support which holds it in a con-
venient position before the operator. Forty compartments
are provided for individual film strips or scenes coiled
and ready for splicing.

Included with every outfit are 100 printed continuity
slips and simplified instructions for using the outfit and
editing home movies.

Deluxe Tilt Head a furnishing for the Royal De
Luxe Tripod, Albert Specialty Com-
pany, Chicago, have provided a new Tilt Head. One of its
announced new features is the quick action in one opera-
tion. Another is the fast tilting platform which makes
possible changing the camera from a horizontal to ver-
tical plane without removal from the platform.

Two screws are furnished with the Royal DeLuxe Tilt
Head to accommodate various sized camera sockets. To
fix a camera to the head, the proper size screw is placed
in the camera socket, and the camera is placed on the plat-
form with the screw centered in the platform receptacle.
A short swing of a small lever locks the camera securely
in position. Completely eliminated is the need for turning
or threading the camera to a stationary tripod screw.

TELEPHOTO LENSES

Made in Mounts
to fit 8 and 16mm Cameras

AT AMAZn low PRICES!

These lenses are fully corrected for
use with Kodachrome film, as well
as all other types of film, and are
ideal for taking distant shots of
sports, wild life or portraits where
you do not want to get too close to
the subject.

The 1 and iH inch lenses can be
fitted to the 8MM Bolex, Keystone,
Revere and Bell & Howell Turret
cameras. The Bell & Howell Turret
camera requires an adapter which
costs $3 extra.

The 2 and 3 inch lenses can be
fitted to standard 16MM cameras,
as well as to all 8MM cameras
mentioned above with use of an
adapter. Price $3 extra.

FOR 8MM CAMERAS

1 inch F 3.5 $18.00

11/2 inch F 3.5 24.00

FOR 16MM CAMERAS

2 inch F3.5 (Available Mar. 1 ) $28.50

3 inch F3.5 35.00

Filters Available $1.75 to $4.00

Please Specify the Type of Mount when
ordering.

Mail Orders Filled. Write Dept. H.M.T.

If it's photographic you’ll
find it at

32nd St. near 6th Ave., New York

World’s Largest Camera Store
Built on Square Dealing

irkirir'irkirk-kirk-k'klrk-k •k'k-k'k'k'k^'k^

]

•»

Mi,

i’

HOME MOVIES FOR FEBRUARY

PAGE 61

Will, ADMNCtD

C^ine^iit

merA . . .

SP Acquires Employee’s Pix

16mm Kodachrome pic-
tures filmed in Mexico and
Guatemala by Charles L.
Schultz, claim clerk for
Southern Pacific’s Los An-
geles general passenger of-
fice, have been acquired by
the company as a medium
for promoting travel below
the border via S. P. lines.

Movies of Mexico are
Schultz’s specialty. Having
spent much of his childhood
there, he has returned to
that country sixteen times
since, acquiring footage
with his cine camera for the
travel reel on Mexico which
is probably one of the most
complete of its kind.

Schultz’s cine work first
received recognition when
his Mexican scenes were fea-
tured in a 45-minute televi-
sion program telecast over
the Don Lee System on the
Pacific Coast.

Graduate

Kenneth 0. Hezzlewood,
whose 8mm picture, “Four
Hours to Fill,” was among
the prize winners in Home
Movies’ 1939 Annual Ama-
teur Contest, has moved in-
to the ranks of pro-16 film-
ers, producing both sound
and silent 16mm commer-
cials.

Hezzl ewood attributes
much of his success in pro-
ducing a good film product
to knowledge gained of au-
diences’ likes and dislikes in
substandard pictures during
the time he specialized in
screening pictures for vari-
ous groups. During the past
year he is credited with pro-
jecting films for more than
110 audiences comprising
approximately 15,000 peo-
ple.

He is fortunate in having
access to a wide variety of
16mm cameras and has quite
an array of equipment of
his own, both for production
as well as exhibition of si-
I lent and sound movies.

Hezzlewood’s latest activ-
ity is production of a 16mm
sound-on-film picture for the
St. Paul police department,
further details of which the
ii editors hope to entice from
the pen of the producer for

a future edition of Home
Movies.

In Hawaii

Len H. Roos, A. S. C.,
lenser of many Hollywood
productions, has set up shop i
in Honolulu, where he spe-
cializes in commercial mo-
tion picture productions. In
recent months, most of his
assignments have called for j
16mm color, and arrange-
ments have been made by
Roos to test the new profes- |
sional 16mm camera, now I
being readied in Hollywood |
studios, on Hawaii’s incom-
parable scenery.

Clardy Continues Active

Continuing active since ad-
vancing to ranks of profes-
sional cinefilm.ers, Randolph
B. Clardy recently complet-
ed filming the Follies Ber-
gere for its producer as a ^
medium for selling the show
to theatres throughout the
country.

Although the picture is en-
tirely silent, Clardy used
the popular Berndt-Maurer
16mm camera for the job,
which runs about one hour
and includes all of the acts
of the production filmed in
a variety of high, low, and
angle plus medium, long and
closeup shots.

Many of the shots were
niade during actual theatre
performances. Others were
filmed during rehearsals.

0. K. for Sound !

Warner Brothers have pur-
chased a single reel subject
from the Seeing Eye School
for the Blind, Montclair,
N. J., which was shot sans
sound by the school officials.
The reel will be re-edited at
Warner’s Burbank studios,
commentary added by Owen
Crump, and released as a
commercial short.

the button-and

GET "PROFESSIONAL'' FADES,

Begin the New Yeor

with the ultimate
in title -making
equipment \

BROWN

The Brown Precision Titler is endowed with
advancements which far surpass any other title
maker on the market. It has optical bench pre-
cision and performance. It makes zooms, flip-
flops, tum-arounds, rear projections, animations,
etc. Quick and easy alignment of the camera lens
with the easel assures properly centered titles.
The outfit includes: Opal glass, clear glass, and
cork backgrounds, 9” x 12" . . . two reflectors
with adjustable brackets
. . . 12-ft. extension cord
. . . vertical pivot bear-
ing . . . target-sight and
supplementary lens
holder . . . field chart for
lens . . . and complete in-
structions. .

^27.50

WIPES and VIGNETTES

ViGNETTEC

WiPE-OISC

TIMED AND OPERATED BY
CLOCKWORK MECHANISM

Baia CINE TRANSITO Jr

When you make your own motion pictures, scene transitions
— that is, the change from one scene to another — are impor-
tant if you are to expect smooth and even continuity and
greater interest. The finest scene transitions now become an
accomplished fact with the Cine Transito, Jr. which creates
fade-ins, fade-outs, lap - dissolves (with back -winding
cameras) and real wipe-off effects. The Cine Transito, Jr. is
small, compact and light — it is efficient and eveready for use.
Adapters to fit practically all cine lenses. When or-
derin^ specify your lens!

w/JW

Ptc

PJrtj

^>ss2s

ADAPTERS TO FIT ALL LENSES

Master TITLE KIT

See your
favorite
dealer or
order
direct:

AMERICAN BOLEX COMPANY, Inc. • iss east 44th street, nevj york city

HOME MOVIES FOR FEBRUARY

FIRST PRIZE-

in each class to be awarded winners in Home
Movies’ 1941 Annual Amateur Contest will be a
complete—

Dual Turntable Outfit

Here, indeed, is a prize worth shooting for! Every movie amateur
wants to play music, add sound effects, dialogue, or all three to
his 8mm or 16mm movies! These latest type dual turntables will
enable you to do it!

Above prize is in addition to the Grand Sweepstakes award —
the Lloyd Bacon Trophy for the best picture in the contest — and the
trophies for outstanding achievement. And, of course, there will
be awards, too, for second, third, and fourth place in each classifi-
cation: scenario, documentary, and home movie.

Begin Your Contest Movie Now! HERE ARE THE RULES!

• Entries limited to 16mm and 8mm films. No 35mm
reductions eligible. No restriction as to length or
subject. Submit as many entries as you wbh.

0 Be sure to label your film reels and containers,
giving your name and address and the title of your
production.

• Transportation on entries must be paid both ways.
Where return postage is omitted, film will be returned
via express, collect. All entries will be promptly re-
turned after review by judges.

• All entries should be titled at least to the extent
of a main title. Professional or laboratory produced
titles are permissible.

• No entry blanks are necessary. Enclose data with
entry as to camera, lens, and film used; also, state
whether filters, tripod, exposure meter and any other
equipment was used. This information has no bear-
ing on the judging, but is of interest to the editors.

• Don't wait until final week to submit your films.
Send them in as soon as ready.

HOME MOVIES

HOLLYWOD'S

MAGAZINE FOR THE AMATEUR

i HOME MOVIES FOR FEBRUARY

|hom[ movies

{Published In Hollywood

mmm 1941

C. E. Bell

[•

I Fitting Proper Music to Films
Key to Successful Screening

I By Maurie Webster

i Columbia Broadcasting System

FEW years ago, music was out of the ques-
1' tion as a feature of home movies, but since radio-
I phonograph combinations and electric record play-
I ers have grown so popular and inexpensive, it re-
i quires only a bit of doing to fashion an appropriate
I musical score for our films. The world’s greatest
I orchestras from Hollywood to Vienna, from White-
I man to Stokowski, are ready and waiting to play
for us through the channels of fine records avail-
!■ able in music stores.

tions or perhaps brief passages to harmonize with
their films. One record can supply theme or back-
ground music for many different scenes or reels of
film.

In choosing a record, the title may mean prac-
tically nothing so far as its appropriateness goes,
as one amateur I know who produced a superb
western vacation movie discovered after trying
to use “The Oregon Trail,” “Springtime in the
Rockies,” and several other numbers, the titles of
which sounded as if they might contain just the
atmospheric music required. But after judging
the records on their melodic content, he wound
up with such selections as Eric Coates’ “London
Suite,” the “Blue Danube Waltz,” and De Bussy’s
“Clair de Lime.” Also discovered was the fact un-
inspiring titles like “Opus 15, Number 7,” or
“Sj^phony Number 4 in F Major,” often conceal
surprisingly colorful melodies.

Enterprising amateurs everywhere are adding
musical scores to their home movie entertainment,
are collecting a library of phonograph records
from which they may choose appropriate selec-

/i POINT to remember is that classical music
performed by large symphony and concert groups
is greatly to be preferred over popular songs for
playing with movie films. Vocal num-
c. E. n^ii bers are of course taboo, except in un-
usual circumstances. Classical music of-
fers the advantage of creating atmos-
phere without using a too distinctive
melody pattern.

With such basic factors in mind, we’re
ready to scan our completed film and
plan the music. As we sit, pencil and
paper in hand, watching the screen, we
become aware of various moods as the

o Continued on Page 92

• In the picture above
a dual turntable is be-
ing used to play theme
music for the picture.
Records are marked, as
illustrated at left, in-
dicating starting point
for needle. Watching
the screen for cues, the
operator fades in from
one record to another
and is ready to change
records when required
in order to provide o
continuous musical ac-
companiment.

o Above are reproduc-
tions of strips clipped
from "ponchromo-
tized" 16mm film —
positive film mode
panchromatic by o
simple dyeing process.
Fig. 1 is o cloud scene
filmed with a red fil-
ter. Fig. 2, on indoor
shot filmed at f/2.7.
Neither shot would
hove been possible un-
der existing conditions
with straight positive
film.

/1.RE you one of the great fraternity of cine-
filmers who process their own films, using low cost
color-blind positive film for movie-making? If so,
you’ve probably yearned for an inexpensive pan-
chromatic film that could be used lavishly and
without thought of cost.

Well, such a film is here. In fact, it’s been here
right along^ — ^the very positive film you have been
using! Positive film can be “panchromatized” —
made to produce panchromatic results; do all the
things regular pan film will do — by subjecting it
to a simple dyeing process before exposing it in
your camera.

The cost of dyeing this film, w'hich any amateur
owning the simplest kind of home processing out-
fit can do himself, is but a mere 15c per hundred
feet. The film will emerge from the dyeing process
a full-fledged pan film, sensitive up to 700 milli-

HOME MOVIES FOR FEBRUARY

Authored by
John Wilhoit

microns, which is well into the red and just falling
short of the infra-red. It will have a speed rating j
in the region of Weston 8 daylight and Weston 5 '
for Mazda. This is about equivalent to the speed
of regular panchromatic films. Moreover, a stand- I
ard red filter may be used with this “panchroma-
tized” film with excellent results, as evidenced by
the reproduction of such a shot in Fig. 1. This '
scene was made in bright sunlight with a Wratten
“A” filter at f/4.5 at standard 16 f.p.s. speed on ,
“panchromatized” positive film. ;

Such film may be exposed indoors with equally i
good results. Fig. 2 illustrates a scene I made with f
“panchromatized” positive film, using a single No. |]
4 Photoflood lamp at a distance of nine feet from j
the subject and with my camera set at f/2.7. Need- 1
less to say, neither of these exposures could have 1
been made successfully under the same conditions |
with straight positive film.

Of course, you want to know how this “panchro-
matizing” process is done. First, the formula :

Water (distilled) 60 parts

Ethyl alcohol (94%) 40 parts ,

Pinacyanole dye stock solution 4 parts !

Ammonia 28% (stronger) 2 parts

The stock solution of the dye is made with 94% ‘
alcohol — 1 part dye to 1000 parts alcohol.

Pinacyanole dye is a highly concentrated blue, |
obtainable in one-gram lots from Eastman Kodak
Company, or from the W. M. Welch Manufactur-
ing Company, Chicago. One gram is sufficient to
make nine gallons of dye solution. This solution
keeps well provided it is stored in dark bottles,
tightly corked, and in a cool, dark place. I have no
information as yet on the capacity of this dye solu- >
tion, but I’ve obtained uniform results so far after
dyeing approximately 1000 feet of film in 2i/^ gal- |
Ions of solution. It is advisable, of course — as with J
our processing chemicals — not to tax the dye solu- j
tion too far. i

I had trouble finding a sufficient quantity of j

• Continued on Page 86 \

( Right)

CHRISTMAS EVE

In response to many requests, the
Christmas scene which appeared in
the December issue is enlarged and
reproduced on the opposite page
for those who wish it as a title back-
ground.

Photo courtesy

Genera! Elec. Co.

J4.

ere S a

• Pictured above is the
Keystone 8mm camera
with single frame re-
lease button installed;
also photos showing
camera dismantled and
parts important in the
changeover. B shows
mechanism removed
from case and with re-
lease arm in position.
Rewind gear and spin-
dle have been removed.
C, front view showing
release arm. D, release
arm, spring, bushing,
spacer, and screw. E,
rear view of gear show-
ing new stop pin in po-
sition. F, open view of
mechanism, showing
release arm, wheel and
stop pin.

;(_.4Sioi;iniiHiiiEii[iEnSi

If, when a boy, you were successful in tak-
ing the family alarm clock apart and putting it
together again, you will undoubtedly want to try
your hand at installing this single frame release
on your Keystone 8mm camera — that is, of course,
if yours is a Keystone 8mm camera. But if your
boyhood tinkering resulted in a permanently dis-
abled timepiece, perhaps it would be best to leave
your camera just as it is.

Not that installing this single frame release is a
difficult task, but one must be of full mechanical
mind in order to understand the mechanism of a
cine camera and to know how to put the parts
back in their proper places when re-assembling it.

Pictured here in Fig. A is my Keystone 8 with
the single frame release I installed in it clearly
discernible just below the regular release button.
I found it an easy and pleasant task, and for the
benefit of those cinebugs who’d like to do the same
for their cameras, I’ll relate step by step just how
the camera should be dismantled and the single
frame release added. The remaining photos and
the sketches will serve to clarify much of what fol-
lows and further reference will be made to them
at the proper time.

Before dismantling the camera, make sure the
motor is fully run down. Remove the lens, then
the six small screws holding the name plate on
front of the camera, which will permit removal of
the front element of the viewfinder.

Next remove the door of the camera and the
empty film spool. Holding'release button depressed,
wind camera spring slowly — about half a turn —
watching the film claw in the film gate until claw
is completely withdrawn. At this point cease wind-
ing, release the button, and remove the two screws

holding the aperture plate. Take out the aperture
plate carefully so that no damage will occur to film
claw. In no case should undue force be exerted on
camera case or parts in dismantling the camera.

Next to be removed is the governor housing —
that “hump” which appears inside the camera just !
between the two film spool spindles. Then the r
speed regulator is detached from the back of the
camera by removing two screws. The rear view-
finder lens should next be removed from the back
of the camera and, after its removal, pry up the
four small tips left exposed and withdraw view- '
finder tube through the front of the camera case.

Now drive out pin which holds the winding key
on shaft, remove key and washers, and all the
screws on this side of the camera. The motor
mechanism is now ready to be removed from the |
case. This may be done by grasping the upper
spool spindle and withdrawing the mechanism top
first.

At this point replace winding key and run cam-
era slowly while studying action of shutter, claw
and stop, as all must be replaced exactly in their j
original positions to insure that shutter and claw ?i
will be properly timed. This is not as difficult as it n
sounds, because the only thing to bear in mind is i
that the film must not be traveling while the shut- !;'
ter is open and the shutter must be closed when :|
the camera is stopped. f

Now remove the four screws which hold the two ij
side plates of the clockwork together, and gently '
take off the side with the film spool spindles, leav-
ing the other side facing upward. This will release
the only two loose gears in the mechanism. One is |
the governor gear which may be laid aside for the I
time being.

Authored by
Paul Charboneau

The other is a large gear about IV2 inches in
diameter, shown in photograph E. In this gear is
placed a stop pin made from a fillister head screw,
size 4-40. The photograph will give a fair idea of
the relation of the two stops (the new stop and
the old one). The distance between these two is
not critical, but the pin should be set in exactly
11/32 inch from the extreme outer edge of gear to
center of stop pin. If it is set out any farther than
this it will strike against the little plate immedi-
ately below film claw. The fillister head must be
filed down to a length not exceeding 5/64 inch in
order to give clearance for viewfinder tube.

After the screw has been tightened in gear, file
off any portion which may extend through and set
with a prick punch so that it will not work loose.

]\foW that alteration of gear is completed, we
may turn to making the new release arm. The lay-
out for this is given in Figure 1 and is not difficult
to make of 20-gauge sheet steel. The end which
comes in contact with the stop pin may be case
hardened. This end should also be cut on a slight
angle, as shown in sketch, rather than a square, so
that it may easily slide off the stop pin when the
button is released.

The part of the new arm and that of the old arm
which contact each other must be smoothed off so
there will be a minimum of friction at this point.
A thin film of white vaseline or camera lubricant
applied to all working parts will facilitate ease of
operation.

Photograph C shows the small coil spring which
holds the new release arm and prevents it from

coming in contact with the stop when the regular
button is pressed.

On the pivot end of the new release arm an
11/64-inch hole is drilled as shown in photograph
A, and into this hole is inserted a small brass
bushing which is just slightly longer than the
thickness of the arm. This is so screw may be
tightened without binding the arm. A thin brass
washer is used between the arm and camera frame
at this point to give the necessary clearance. A
No. 4-40 screw holds the arm in place. Figure 3
shows location of hole for pivot screw.

• Continued on Page 8-f-

FIQ.l

RELEASE

CUT OUT TO
PROVIDE CLEARENCE
FOR REGULAR
RELEASE BUTTON.

(.CUT AT auiQHT
^ ANGLE

holeH

j_oy

■ 16

.-.-DRILL &TAP

5 '
16

BUSHING TO
FIT RELEASE
BUTTON .

TAKE-UP

SPINDLE

Fiq,2.

BU5^HINQ

FRONT

CAMERA

Fiq.3

INNER
PLATE OF
CAMERA

LOCATION OF HOLE
FOR PIVOT END OF ARM

Reported by
J. H. SCHOEN

• The twelve illustra-
tions on this page are
all from enlargements
made from Mildred
Caldwell's 8mm Koda-
chrome picture, "Hap-
py Landing," February
Movie of the Month.

Two years ago Mildred
Caldwell knew as much about
making amateur movies as the
average Eskimo. Then, one day,
friends screened some of their
color movies for her and, bing !
the movie bug got her, just like
that.

Unusual? Not a bit. The same
thing is happening to others
every day. What is unusual, however, is that this
same woman made such a marked progress with
her cinefilming in the brief span of two years,
that her latest movie, “Happy Landing,” has been
honored by the editors as the Movie of the Month.

As far as Mildred Caldwell is concerned, there
is made but one kind of movie film : Kodachrome.
She shoots nothing else. And, because of this,
friends dubbed her “Kodachrome Caldwell.” Natu-
rally, “Happy Landing” is a Kodachrome picture.
It runs approximately 350^et in length. The pro-
duction was filmed in competition with 14 other
members of her cine club, and she is the first to
complete shooting, editing, and titling her picture.

“Happy Landing” is a light but clever story in-

tended to publicize the attractions of Long Beach,
California. In the opening scene, a young man in
the role of Bud is responding to the horn of a car
at the curb in front of his home. Behind the wheel
is an attractive miss — Miss Page.

After he leaves, his sister, Edith, receives a tele-
gram from Bud’s fiancee, saying she is paying a
surprise visit and arriving by plane that after- |
noon. In the midst of this news, a youth named |
Jack delivers Edith’s car from the service station. |
Noting her attitude. Jack inquires if there’s any- i
thing wrong. She explains that her brother’s fian- |
cee is arriving on the afternoon plane and that her i
brother is out with another girl, and of course will I
not return in time to meet her. She arranges with
Jack to meet the girl and entertain her until Bud I

returns, and she provides her car, a roll of bills, I

and a photograph with which to identify the girl I'

at the airport.

En route to the airport. Jack stops at the service
station. His pal asks why he failed to deliver the 1=
car, whereupon Jack explains his new mission and
shows the photo of the girl. “You’ve got com- |
pany!” says the pal, and jumps on the running !
board as Jack attempts to evade him. !

At the airport. Jack and his pal meet the girl, !
and the pal, wishing to make an impression, offers i

to carry her bag. On the way to the car, however, i:

a stranger stops him, and Jack and the girl drive |

off, leaving him behind. |j

Thus the pal starts at this point to return i|
to the city by foot, hitch-hiking when possible, and ji
this furnishes the running gag in the story. Cut ,
in frequently are shots of him thumbing a ride,
tramping wearily down a dusty road and spilling

o Continued on Page 98

MAGAZINE

lii

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HOME MOVIES FOR FEBRUARY

Atithored by
Curtis Randall

/iMONG the legion of 16mm filmers that
have graduated from the ranks of the amateur to
the more interesting and lucrative circle of pro-
fessionals, none perhaps has had a more spectacu-
lar career than Florence Johnston.

Flo, as she is known to her intimates, had, from
earliest childhood, an inbred desire to be around
wherever wheels were turning. And it was not at
all unusual that she chose as her principal course
in high school, the study of auto mechanics. She
graduated, too, with high honors, and an automo-
bile distributor intrigued with her accomplish-
ment and sensing the publicity value of a young
feminine automobile mechanic, added Flo to his
staff. In this capacity, Flo brought to light another
latent ability — salesmanship. Soon she was selling
more new cars from the service department than
were being sold on the sales floor.

Aeroplane propellers are not exactly wheels, but
they move in a similar manner which is all that
was necessary to intrigue Miss Johnston. In no
time at all, she was hanging around airports, bum-
ming rides, and then taking lessons. It would take

a book to relate her many interesting experiences
in aviation, stunt flying, and parachute jumping.
Suffice it is to say that she became, and still is, a
capable pilot. But we’re a little ahead of our story.

While knocking about the local airport — she was
still a kid just out of high school — Flo made snap-
shots of the various pilots and mechanics with a
little two-dollar Brownie camera. These found a
ready sale. Student pilots especially were ready
buyers of pictures showing them adorned with
helmet and goggles and seated in the cockpit of a
plane.

About this time, Flo’s brother acquired one of
the early Keystone 16mm cine cameras which,
knowing his sister’s yen for photography, he kept
safely hidden — at least until the day she followed
him, saw him hide the camera beneath the mat-

U/l

tk GOOD mmv.

tress of his bed ! Smuggling the camera out of the
house on frequent occasions, Flo soon became quite
expert in 'filming amateur movies. The pilots and
others about the airport not only became her sub-
jects but her first commercial film customers. Thus
her filming career began and continued to flourish
until one day she forgot to remove her roll of film
from brother’s camera before returning it to its
hiding place. Brother found a new place to conceal
the camera and Flo suspended cinematic opera-
tions until funds were accumulated from a few
weekly pay checks to buy a camera of her own.

Soon she was active again. Ownership
of her own camera lent added zest, and
seemed to attract more business for her
than ever from among friends at the air-
port. But let Flo tell it in her own words :
“While filming at the airport, I met
three young men taking a course in fly-
ing instruction there who became quite
thrilled at the sight of themselves on a
movie screen landing a plane on their
first solo flight. 1 made a deal to shoot
movies of them and sell them the film.
The stock cost me $2.00 a roll, plus an
added dollar for processing and 1 fig-
ured 1 was doing all right charging them

• Continued on Page 82

• Above: Filming win-
ter sporting events ot
Lake Placid, N. Y.,
was one of the first big
commercial filming
undertakings by Miss
Florence Johnston. At
left: Miss Johnson dis-
cusses filming of a
scene during recent In-
ternational Stock Show
for a production spon-
sored by the Virginia
Breeder, Inc. Interest-
ing is type of equip-
ment she now uses in
shooting sound or
silent commercial pro-
ductions.

PAGE 70

HOME MOVIES FOR FEBRUARY

Authored by
George W. Cushman

EDmOG,

• •

• There's really great
fascination in editing
movies. Of course, the
right equipment makes
the job easier and
more interesting. Most
essential, of course, is
a good splicer; then a
means for viewing the
film. Adopting method
shown below of label-
ing the various scenes
as you cut them up will
make reassembling of
the film a great deal
easier, too.

ill 0 movie enthusiast can hide from his friends
the degree to which he has progressed as an edi-
tor of his films. It takes only a few moments for
anyone to be able to tell the degree of perfection
the filmer has set for his movies. A film is no
better than the ability of the person who edits it,
but too often the person who does the editing is
capable of turning out a better film than his prod-
uct displays.

Those participating in this magic hobby may be
classified into two groups: Those who edit their
films, and those who do not. Every amateur was
once a beginner to whom the first reel of home
made movies seemed perfect. But as he progresses
with his hobby, he soon learns how relatively poor
his first reel was. There was a bad section in it —
terribly underexposed — and he wished many times
he didn’t have to show it every time his friends
came in to see the other shots on the reel.

At this point he is about to enter the former
group of movie enthusiasts — that is, those who
edit their films. As soon as he makes that first cut,
and then a splice, he becomes a member of the
group of amateurs who are interested enough in
their films to want to improve them. -

This might be called the “first degree” of film
editing — the desire to eliminate bad or unwanted
pieces of film. These may include over or under-

exposed portions, lengths of scenes which are too
long, scenes out of focus, scenes which are jumpy,
blurry, or otherwise undesirable, and so on. Thus,
by process of elimination, the only scenes left are
those which are of good quality and decent length.

Now, what has happened? The film as a whole
has been improved, yet none of the scenes as a
unit has been touched. The elimination of these
poor shots immediately raises the photographic
level of the reel. Whereas it formerly was half bad
and half good, it is now only half as long, but it
is 100% good.

This phase of editing, the first degree, requires
little or no experience. It requires only a splicer, a
few moments of spare time, and a small amount
of will to get the job done.

Some amateurs never get into this “first de-
gree” of film editing. Then there are others who
remain in that first group for but a very short
time. Frequently the very first reel is edited —
that is, the bad shots are eliminated. Many ama-
teurs remain a “first degree” editor for months,
while others skip almost overnight to the “second
degree.”

The “second degree” is made up of those
filmers who wish to make their film a more com-
plete unit. They dislike explaining each scene to
their friends, and as a result, soon employ the use
of well chosen titles. They give the film a main
title, and an end title. Also, they put like subjects
into one reel — that is, family shots are spliced into
one reel ; vacation views into another ; shots about
town make up a third ; and so on.

Many amateurs stop at the second degree, and
this may be perfectly all right, for their films are
always interesting to look at, finished, and well
received by the average audience.

But some of these “second degree” enthusiasts,
looking for still greater perfection, hurdle the next
and last high fence and thus become a member of
the “third degree” editors. Into this classification
fall those seasoned movie bugs who endeavor to
include into all their films the many and varied
forms of advanced movie technique available to
the owner of home movie equipment. When he has
reached this stage, the amateur re-assembles his
films. He is seldom content with them after he has
exposed and edited them only once. He studies the

• Continued on Page QO

HOME MOVIES FOR FEBRUARY

PAGE 71

Hlllll TO OST TOOK TOIPOD

Set

level!

THERE is only one right way to set up your tripod — with one leg
straight out on a line with the lens, and the other two on either
side of you as shown above in Fig. 1. This provides ample room to
work behind the camera without danger of striking legs with feet.
Care should be taken to insure that top of tripod is fully level. This
can be determined by swinging camera around and checking hori-

zon line or other object in viewfinder as shown in Fig. 2. A small
two-way level, obtainable in most hardware supply stores, and
mounted on tripod head as shown in Fig. 3, will aid in adjusting
tripod for level. Another good idea is to mark off each tripod leg
accurately in 6-inch or 1-foot marks as shown in Fig. 4, thus sim-
plifying adjustment of each leg to proper length.

TRIPOD should be a firm and solid support at all times. Many
gadgets may be rigged up to enhance its rigidity and prevent legs
from slipping. Fig. 5 shows method of attaching lengths of chain to
legs by means of small eye hooks. Slipping of tripod legs on
wooden, concrete, or other smooth surfaces is prevented by use of
the collapsible wooden "Y" base shown in Fig. 6. In the field, when
working in a heavy wind, the tripod may be tied down with a

length of rope attached to a heavy stone as shown in Fig. 7. A
similar method — one used by the professionals when shooting from
a truck or other vehicle — is to tie down the camera and tripod by
means of a length of wire secured to tripod top and then to screw-
hook driven in the floor. The wire is tightened by means of a turn
buckle as shown in Fig. 8.

IF YOU haven’t a tilt-pan head, adjust legs of tripod, as shown in
Fig. 9, so camera will set firmly at the desired angle. A tripod
makes an excellent unipod or support for the camera where it is
inconvenient to use it with all legs set. Simply extend one leg to
proper length so camera viewfinder will be at eye level as shown
in Fig. 10. Us your tripod with legs fully retracted as a support for
camera in making shots from grandstand or stadium, as shown in

Fig. 11. Much steadier pictures will result than when camera is
hand-held. Handy, too, is the way a tripod may be used to shoot
movies through windshield of the car. Make a simple bracket of
strap iron, as shown in Fig. 12. Slip this over tripod screw; bolt on
camera; then slip curved end of bracket under edge of dash, and
extend tripod legs necessary distance, locking them in place.

A special BEGINNER’S feature

^1 have brought two-bits
worth of candy/

TITLE EDITIDi;

in silent picture dc

Same as

piciufe aaus

By A. E. Milford*

• •

• Illustrations on this
page ore reproductions
from old silent Chris-
tie comedy, "Green os
Gross," and illustrate
one style of cutting-in
spoken titles. At top,
the title is cut in im-
mediately ofter Bobby
Vernon begins to
speak. Then, instead of
cutting bock to him at
end of speech, the edi-
tor cut immediately to
the girl to whom title
lines were addressed,
showing her reaction to
speech. Below, Ver-
non's rival has double-
crossed him; now has
box of candy. Note in
the last illustration
that while cut-back
has been mode to this
same character, it
shows him starting the
action promised in the
title — that of taking
the candy to the girl.

I N the heyday of silent motion pictures, the
man who wrote the titles was as important to the
ultimate success of a production as the star, the
director, or the cameraman. His was a specialized
profession paying upwards of $2500 per week.
The fact his salary frequently topped that of the
star in the picture, only emphasizes how important
his art of putting words together and then in the
right place in a picture was regarded by the in-
dustry.

Not infrequently as much as $20,000 would be
expended in titling a silent “epic.” It would be re-
titled as many as three or four times — that is,
three or four sets of titles would be written — be-
fore o.k.’d by the producer for exhibition to the
public.

So swiftly has that era passed with the fleeting
years that many now filming their own movies
scarcely remember a silent movie — perhaps never
saw one ! The fact remains, however, that movies
need something besides the picture to make them
“move.” In the early days it was the descriptive
and the spoken titles. Today, titles are replaced by
the sound track carrying, in addition to the natu-
ral sounds within a scene, the words expressed
by the actors — actually titles in sound with the
added embellishment, of course, that sound affords.

If titles were so important to silent theatrical
pictures, they are no less important to silent home
movies today. It is unfortunate, indeed, this being
true, that the average movie amateur no longer

*Title Consultant, Consolidated Film Industries, Inc., Holly-
wood, Calif.

has access to some of the old silent pictures as a
medium of study for titling his own home movies.

The technique of titling silent movies applies
equally to amateur movies. Few are the amateur ^
pictures that cannot be improved with a series of
well written and properly placed titles ; and if we
can reach into the “bag of tricks” of the old mas-
ters and bring to light some of the highlights of
their titling technique, perhaps the serious ama- j
teur will find something here to inspire him to |
greater heights in titling his own amateur pro- |
ductions. "

One need not be an author or gifted humorist in
order to write titles. If we are capable of standing
beside the projector while running off our picture
and explaining it orally to our audience, we are
capable of putting the same explanation into
words. Brevity, of course, is essential.

Next in importance is that our titles should be
so printed and photographed they may easily be
read. The best professional sub-titles were printed
in simple type faces on plain backgrounds. For
awhile there was a vogue for fancy sub-title back-
grounds, an innovation introduced by Thomas Ince
in his pictures. Then followed plain, undecorated
titles which were more quickly read and required
less footage. Picturesque or decorated backgrounds
proved too diverting; occupied eyes of the audi-
ence in time needed for reading the titles.

Proper placement is perhaps the most im-
portant phase of editing titles into a picture, par-
ticularly with spoken titles. A spoken title should
never be cut in until the subject starts to speak.
This applies equally to titles of but one or two
words. Let’s assume we have a scene where the
heroine is startled to find a man intruding in her i
boudoir. There is a closeup of her as she sits up in
bed and cries, “Get out !” Watching this scene in
our viewer carefully, we would cut it right on the
frame following the action of the heroine saying
“Get . . .,” splice in the title “Get out !” and to this, I
the remainder of the scene beginning with the
action of the heroine saying “out!” Frequently we
have seen, in amateur movies, the equivalent to

• Continued on Page 94-

■ . r

GKEEN AS GRASS

ril take your gum
drops to my girl/

HOME MOVIES FOR FEBRUARY

lj Authored by
j Dr. a. K. Baumgardner

i Peoria Cinema Club
\*\

1 I

graphic production of amateur films, it is easy to
overlook the need for proper presentation on the
screen. If there is anything which will lift the
I amateur production to a professional plane, it is a
' careful instillation of showmanship.

Many excellent articles have appeared in these
columns with complete instructions for the appli-
cation of composition and continuity, not to men-
'1 tion scenario writing, titling and the use of trick
■ | photography. The average inclination to attempt
,N special effects seems to stop with the experiment
successfully completed. To create an effect for the
benefit of the guest viewing the picture for the
if first time, and possibly for an audience whose
[ ! technical knowledge is limited, is far more impor-
L tant than that self-satisfaction of having accom-
|,i plished another trick.

I'; For those amateurs who have home theatres or
I ; recreation rooms designed for creating the atmos-
' phere of a miniature theatre, the problem is par-
i; tially solved. But for those restricted to the use of
' a living room, much confusion is encountered by
lj the unruly actions of the audience. Interruptions
i • of private conversations, numerous questions re-

I garding scenes and dates, the incessant urge to
fj, create hand shadowgraphs on the screen, constant
’1 bobbing of heads up and down intercepting the

I I beam from projector to screen, all distract the
/ attention of those who really appreciate your crea-
I tive art.

Many serious-minded amateurs have recognized
t| these situations and have devised methods of over-
coming some of them at least. We can agree that a
■I living room is usually too formal to preserve dig-

I: nity throughout a screen program, unless we em-
■ ploy indirect suggestions toward a proper atmos-
■ phere.

One of the first steps toward this problem is the
|l elevation of both screen and projector to allow the
I; beam to pass over the heads of spectators by a
j generous margin, maintaining an aisle as a projec-
\ tion pathway.

For those who employ recordings to accompany

in dcreening. movies ups

audience interest . . .

the screen program, another advancement is made
toward maintaining silence. It has been my ex-
perience that talking is reduced to a very mini-
mum by the use of recordings and everyone enjoys
the program to a high degree. One program which
I have shown to many groups has consistently pro-
duced uniform results and the success of this de-
velopment has been the inspiration for this article.

To set the mood at the beginning, another mem-
ber of the family, by a pre-arranged signal, can
attend to the room lights at the instant the pro-
jector is started. The introducory film is a Koda-
chrome reproduction of a small stage with cur-
tains closed richly colored to resemble an elabo-
rate proscenium. Suitable overture music is start-
ed to duplicate the effect of a professional the-
atrical opening and after a delay of about 30 sec-
conds, the curtains part slowly and smoothly to
reveal the first title, set far enough back on the
stage to allow colored lights in flasher sockets to
make several changes. These lights are concealed
in the wings to again simulate theatrical effects.

The introductory title carries the name of
my Family Theatre . . . Presents . . . An hour of
choice entertainment . . . Next title . . . The Over-
ture, now being played,

L’AMOUR TOUJOURS L’AMOUR

Jesse Crawford
at the Mighty Wivrlitzer

Then a slow fade, and from this point on, any
well-edited amateur films or library films can make
up the program. Carefully selected records can
accompany the entire program being timed so that
a title will appear where the record changes must
be made. After a presentation of this nature the
audience is grateful for a pleasant entertainment

• Continued on Page 99

* Pictured above is
table top setting con-
structed by author os
background for intro-
ductory title for pre-
liminary musical pro-
gram which precedes
screening of pictures
in his home.

HOME MOVIES FOR FEBRUARY

Authored by t
Dr. a. K. Baumgardner j

Peoria Cinema Club I

prominence while the supple- ,
mentary wording is grouped |
above and below in proper or- I
der to modify the subject. (See
title No. 3 in the above illus-
tration.)

Practically every profes- :
sional production serves as an i
example of this type of title, li
If the border is made rather i

eden/ed

movie

• Main titles in pro-
fessional productions
serve the purpose of
fixing our mood, pre-
paring us far the style
of action to come.
Amateurs can da the
same for their pictures
— in fact have, as
may be seen from spe-
cimens of main titles
reproduced above from
some of the best pic-
tures reviewed during
1940 by HOME MOV-
IES. No. 1 is a plain
hand lettered title,
very effective. No. 2
is composed of pin let-
ters applied over a
background of corru-
gated paper. No. 3 is
a professionally made
title, a fine example
of main title compasi-
tion. Titles 4, 5, and
6 are double exposed
titles — the lettering
superimposed over a
moving background.
Nos. 7, 8, and 9 are
examples of titles hand
lettered aver art back-
grounds.

Can you imagine for a moment how great
the influence is upon our minds in the recognition
of products with a name? How popular would a
magazine be without its cover ; a newspaper with-
out its heading ; a package of cereal with no name ?
A standard brand of the finest packaged food prod-
ucts would have no appeal without its trade mark.
Even though it measured up to every standard, we
would still be suspicious about its quality. Simi-
larly, the main title of a movie provides a name for
our cinematic product and introduces the action to
follow to our audience.

Any picture which is good enough to project
more than once deserves at least one title — a
main title. If it cannot justify its existence
through photographic excellence to warrant a
title, then it belongs in the rubbish pile. When a
film is returned from the laboratory and screened,
it deserves a title or it doesn’t, and the short cut
to force a decision is either to title it or throw
it away.

The main title is usually a little more imposing
in appearance than any other subordinate title and
can be used as the “label” for our product. If the
picture is to have a name, it is usually considered
better form that those words which actually rep-
resent the name or title of the picture be given

ornate and the lettering is i
fancy and irregular, it will require more time to I
read and extra footage must be allowed for the ii
eyes of the spectators to scan the entire screen to
gain the composite effect of the border and deco-
rations serving as background to the actual letter- jj
ing. It is permissible to use a fancy title as a main j
title and plenty of footage to allow for slow read- 1
ing, as well as focusing to bring it into sharp view.

If this idea is to be employed, it is well to have i,
plenty of footage so that the title does not dis- I
appear about the time the focus is complete. i
Usually there are other adjustments necessary, i;
such as speed control and screen centering, when a j
picture is started and unless a provision is made ;
for the footage consumed during these operations,
the effect of the title is often lost. The main title
is probably the only one which requires this extra
footage and only for the reasons stated. Simplicity
of lettering is otherwise to be recommended in
order to shorten the title footage. To avoid such
waste of film, if it can be called a waste, there is
another method of allowing for the proper start of
the picture. A few frames of film titled “Focusing j
Frame” can be inserted in the leader just ahead of |
your main title, and with the aid of the still pic- ,
ture control, it is then possible to focus and center I
the picture before exposing the main title to the
audience. ^

I, personally, like this idea mainly because
it allows the main title to come into view with a
spontaneous flare of grandeur, ready to enjoy
without the doubtful consequences of criticism
and requests from some in the audience to make
it sharper, etc.

There are a few simple rules which are basic
and fundamental for the structure of the main
title ; and, aside from these, the possibilities of en-

• Continued on Page 95

]U[[ Slims /A

I /\.MATEUR filmers are making it increas-

I;’ ing'ly difficult for the editors to choose the “Movie
' of the Month.” So many good films have been com-
ing in lately that frequently only a hairline de-
1 cision separates the M.O.T.M. from the next in
rank — the three-star films. Such are those films,
I reviews of which appear below — pictures that
almost made the Movie of the Month. Each is the
‘ result of excellent effort in all departments of
movie making technique.

i "BEFORE THE WIND" ***

I 1200 feet 16mm Kodachrome — By J. H. M.

j Continuity: This film is a movie record of a
i cruise from Los Angeles to Lower California made
I by a group of young men on a very handsome

j yacht owned by the filmer of the picture. It begins

j with a beautiful shot of the boat in full sail, and
i continues with views of activities of the party and
j crew aboard ship and at the various points of in-

I'l terest at which they stopped along the way. Obvi-

' ously the film started out as a simple movie record
of the trip, but some highly interesting shots were
; captured by this filmer that if properly edited and
with the addition of a series of more descriptive
titles, would greatly enhance the entertainment
' value of the film for audiences outside the realm
l! of this filmer’s friends.

I| There are, for example, some mighty fine fishing
1 shots that could be re-arranged for a highly ex-
I citing climax for the film. Other sequences, too
1 1 numerable to mention here, are composed of excel-
* lent human interest stuff — the kind movie audi-
j! ences like to see in color.

i Photography : Unusually good exposure through-

i out, nice camera angles and fine composition mark
ij the camera technique of this filmer
and this fine effort.

in spite of the fact we think there is room for im-
provement.

Titling: Unfortunately this is the weakest point
of the picture. Basically, the idea of a hand writ-
ing brief remarks across the ship’s log to serve as
titles for the picture is a good one; but the con-
tent of this picture is far too interesting to be left
to a few brief notes of this kind for explanation.
For example, one title reads as follows: “Marlin
Running Today . . .” and while this brief text is a
proper notation for the pages of a ship’s log, it
lacked the required punch as a title for the movie.

Here is a picture just chock full of interest on
two highly interesting subjects: yachting and the
west coast of Mexico. And what it needs is a well
written, informative narrative running through it
in the form of titles.

Also commendable is the selection of recordings
which this filmer has chosen to supiily musical
accompaniment for his picture.

"RIVER RATS"

400 feet 16mm Kodachrome — By T. G.

C ontiniiity : Here is a picture that location
scouts of Hollywood’s picture studios should see!
Filmed in the state of Utah, not far out of Salt
Lake City, and in the fall of the year when the
countryside was just taking on the first blush of
autumn, it contains some of the most beautiful
Kodachrome shots to be seen to date by this re-
viewer.

The picture opens with a young man relaxing in
his easy chair, reading a magazine, and munching
cookies from a nearby jar. His wife sits knitting
nearby. Comes a disturbing ring of the doorbell.
He gets up to answer it. after thoughtfully “ditch-

® Cnntinufd nn Png f 06

• Reproduced on this
page ore enlarged re-
productions from three
16mm amateur films
which rote and hove
been awarded HOME
MOVIES' 3-Star lead-
ers for excellence in
photography, editing,
and titling. Above is
scene from "Before the
Wind." Below (right),
scene from "River
Rats," and (left),
scene from "Torongo-
tofoo."

nj Editing: Notable is the fact none
If! of the scenes are held too long on
the screen, and while there is not
the customary follow-up from long
i shot to medium shot to closeup, in
every instance, still the deft man-
I ner in which this picture is cut
, makes for interesting continuity

X4iicatmal ir jim^

1 SECTION

HOME MOVIES FOR FEBRUARY

• The studenf’ dub, started only this term,
has for its purpose the production of mov-
ies to entertain the student body. A re-
cording of background music and narra-
tion is mode for each film by pupils spe-
cializing in this phase of film production.

Ok io Atudentd him and fecot’d

SCHOOL DIOVILS...

By Bill A. Jones

]V[oTION picture production by
school students has reached somewhat
new heights at Cleveland Heights High
School, Cleveland, Ohio.

A student production organization,
listed officially as the T.N.T. Club, has a
form which might have been borrowed
from any of the large studios on the
coast.

The T.N.T. Club, started only this
term, has for its purpose the production
of movies to entertain the student body.
This, also, is a departure from the pro-
cedure usually followed in other schools,
where educational and documentaries,
dryly handled, are the rule. School offi-
cials enter into the picture a little when
they demand something a little more
worthwhile than the production of com-
edies, so the T.N.T. productions take the
form of documentary pictures of the
school, but every member of the club
works to make them entertaining.

Alvin Koblitz, president, acts as pro-
duction chief and coordinates the script,
photography and recording depart-
ments. Special duty of the script depart-
ment is to compose the narration which
accompanies the film, while construction
of a shooting script is left to the photog-
raphers.

The business end of production isn’t
neglected, either, and the business de-
partment has for its duties such tasks as

lobbying the school’s inter-club council
for an appropriation ; getting up assem-
bly programs, for each of which they
collect a fee from the assembly fund ;
promoting after-school showings of pro-
fessionally-made pictures; saving and
collecting Ohio sales tax stamps which
are redeemable at three per cent of face
value by school organizations ; and, of
course, collecting regular dues from
“stockholder-members.”

All this is to buy film, lights, and other
supplies. Cameras and equipment are
owned by members of the club, while
projectors and sound recording equip-
ment are furnished by the school. Cam-
eras used by the club include three East-
man magazine loading models, and a
Victor Five. Lenses are one-inch f/1.9
and f/1.5, wide-angle i/2.1, three-and-
one-half inch f/3.5, and four-inch f/4.5.
Member-owned editing and lighting
equipment also facilitate picture-
making.

The club’s first production, “Football
on Parade,” a review of the school’s pig-
skin activities handled in Grantland Rice
style, is accompanied by disc-recorded
narration.

• EdiTing of student productions is greatly
simplified by use of the latest and most
efficient equipment, purchosed by pupils
from funds obtained from screening of
their pictures.

Film and narration are composed \
rather loosely so that any slight varia- „
tion in turntable or projector speed will ^
not disrupt the showing. The phono- j,
graph pick-up arm is dropped onto the ;i
record at a cue in the film. Any notice- |j
able variance in the synchronization can J

be checked by altering the speed of the I
projector. '■

Members of the club are looking
forward to the day when they can syn- j
chronize their sound more closely, but at ’
an early stage of club development, they ;
are now content to master simpler pro- I
duction techniques. |

Now in production is “Democracy at !

Heights,” which, according to members
of the club, is a tough assignment. ,

Ever like a major studio, the club has ;
its own version of the Hayes office. Ere- j
quent conferences with Principal E. E.
Morley are held, when heads of the club’s |
various departments outline their plans j

for approval. They then receive sugges-
tions from the principal, at whose re-
quest the film is being made. Outside the
principal’s office, they work to make the
presentation entertaining to the student
body without losing or hiding the orig-
inal idea. Every attempt is made to keep
away from the dryness of the usual
school production, in the belief that an
idea presented in the proper vein will
hold interest and so be more effective.

Other films slated to be made this year
include “Activities at Heights” and
“Clubs at Heights,” which will complete ^

• Continued on Page 88 ,

Fred Bottomer

HOME MOVIES FOR FEBRUARY

CwcathHal ^ J^ccumeHtafU yUm

SECTION

• Small but useful collections of teach-
ing films is the ideo behind the county
library movement in West Virginia.

/\. GREAT deal of attention is being
focused upon educational film activities
in West Virginia, because of facilities
being organized there for distribution of
school films. The unique feature of the
West Virginia development is the growth
of the local library as the basic unit of
film circulation.

The state’s sole claim to a state-wide
film library is the small film collection
at West Virginia University. This serv-
ice was established primarily for uni-
versity campus use. Because of insuffi-
cient financial support and inconvenient
geographic location, the library has not
been able to extend its service over a
very wide area of the state. There is no
film service provided by the state de-
partment of education.

In the face of this situation the local
school systems of the state began a plan
of service two years ago which, at first
regarded as a substitute formula, is now

CourUsy Merc£r County Schools

locHL Limioiiy

Lctdis %^irainici6

dcLoo I fit

m circu

By Godfrey Elliott

iation . .

beginning to shape into the basic philos-
ophy for future organization.

But to understand the library plan
being carried out in West Virginia, one
first must know the state’s school ad-
ministrative plan. Briefly, the state is
organized on a county unit basis. There
are no city or district systems. There are
55 counties in the state, 55 boards of
education, and 55 local school systems.
Each county is a local school unit with
no subdivisions, and with no other or-
ganization unit between it and the state
unit.

West Virginia now accepts the county
film library as the foundation of its edu-
cational film program. Three of these
have been established within the last two
years, and at least six others are in ad-
vanced planning stages. Proposals now
being made for the state program en-
vision the county library in each county
as a collection of basically useful films.
These proposals would provide for the
creation of a state library, under the
state department of education, primar-
ily for the purpose of extending and
enriching the service of the county
libraries.

The proponents of this philosophy
.argue that it eliminates the “bottle-
neck” in film circulation that is usually
■created when a library attempts to cover
a large area of service. This argument
looks to the circulation of a rather small
list of films — not over 100 — by the aver-
.age county library. This list would con-
sist of film subjects that are most useful

and most often in demand. The state
library would provide an enriched and
supplementary list upon which the coun-
ties could call.

The three county libraries now in
operation provide interesting contrasts
in type of organization. One of these is
maintained and financed by its county
board of education out of tax funds ; the
other two are cooperative affairs sup-
ported by voluntary membership of
schools within each county, using funds
raised locally by each school. These lat-
ter two differ fundamentally in the man-
ner in which they are organized.

One of the cooperative libraries is
financed by a flat fee from each member
school. Its organization is typical of
many cooperatives in existence outside
the state. Each member school con-
tributes $25 per year, and receives as
much film service as the resources of the
library permit.

The other cooperative library is a vol-
untary organization maintained and sup-
ported by the schools of its county, cen-
trally located at the board of education
offices, but there the resemblance ends.

The unique feature of this organization
is its democratic basis of support and
control. Each member school in this
county is charged a certain sum for each
pupil in attendance. Some schools pay an
assessment as low as $10, while others
are assessed as much as $80. Although
there is a wide range in the amount each
school pays into the library, each school
has equal voice in the library organiza-
tion. Each school — large or small — may
receive unlimited use of the films, and
the vote of each has exactly the same
weight in library affairs.

Thus, one sees in West Virginia’s Coun-
ty libraries three different types of or-
ganization. It is of interesting note that
other libraries now being planned in the
state are not following any one type to
the exclusion of the other Wo. Prospec-
tive libraries are about evenly divided
between cooperatives and those sup-
ported out of tax funds. However, it is
thought that eventually the cooperatives
will be absorbed by their local systems,
as boards of education become more re-
ceptive to the educational film idea and
as more funds become available.

A great deal of investigation and dis-

• Continued on Page 99

C^ucathnal ir

SECTION

• Geo. W. Kadel, Commercial Art Instructor, Dallas Technical High School

^t^emond tra tionA

film

educe ciadd time . . .

By iRA Lancelot, Jr.

Probably the first major step
in producing an actual demonstration
of the tremendous contribution which
movies can make in increasing the effici-
ency of educational facilities, and with
practical results which will appeal to the
most hard-headed trustee or layman, has
been made by George Kadel, instructor
in commercial art in the Technical High
School in Dallas, Texas, where voca-
tional subjects are taught to some 2700
students. Kadel, nationally recognized
among the foremost ranks of commer-
cial art instructors, has attracted such
a tremendous following in his courses at
Technical High School as to produce
complications in handling the large at-
tendance. Home movie equipment has
been harnessed by the instructor to sim-
plify the problem, and at the same time
a revolutionary step has been taken in
proving the efficacy of movies in prac-
tical instructional value.

As early as 1933, the rapid growth of
the commercial art classes was causing
a complication in the school, making an
expansion of the facilities seem almost a
necessity. The fact that a commercial
art class is an educational phase depend-
ing almost entirely on demonstration,
with a minimum of theory and lecture,
made it an ideal subject for the experi-
ment Kadel had in mind.

The course is made up of 15-minute
sessions for demonstration in the vari-
ous phases, such as brush lettering, card
writing, air brush work, designing, pro-
gressive design, and similar divisions of
the subject. In order for the pupils to be
able to observe closely the technique of

the demonstrator, small classes were
naturally necessary, groups of 10 or 12
being considered the maximum for an
effective demonstration. When the night
classes grew so that as many as 80 stu-
dents were registered for the same
classes and demonstrations, the instruc-
tors were confronted with the necessity
of repeating the same demonstration
four or five times, and with overcrowded
groups at that, in order to include all
registrants. This was manifestly an un-
workable arrangement, time and per-
sonnel not being adequate to such a con-
dition, and the factor that in four suc-
cessive demonstrations, the uniformity
of the instruction might vary. As much
as two hours nightly was required to
handle the subject, which was normally
scheduled for a quarter-hour period.

To remedy the congestion, Kadel
brought into play his belief in the use of
movies for such demonstrations. Using
a 16mm Kodak cine model B, with f/1.9
lens for closeups, he proceeded to plan
and film the complete demonstration in
each phase of commercial art, laying out
the sequence in the logical order of class-
room procedure. It was found that the
completed movie was even more effec-
tive than the physical demonstration,
sinc^the closeups gave students a more
intimate view of the fine points in the
work than they could get in crowded ses-
sions around the demonstrator’s desk,
and the film could be stopped at any time
to frame important still views, or for

• Continued on Page 8S

HOME MOVIES FOR FEBRUARY

^ouncUed
u6e teacLin^ fiimA . . .

“Soundies,” Jimmy Roosevelt’s brain-
storm, which started in December as an
amusement device, may now be seen in
most localities in the United States. Vari-
ous companies are reported making pro-
jection machines varying from $500 to
well over $1000.

Early machines carried 10 subjects.
You put in your dime, but you don’t take
your choice. The three-minute films are
shown in rotation. Later improvements,
it is rumored, will permit the player to
select the film he wishes to see.

Primary interest of educators is that
now for the first time the movies are
coming to the people. If present produc-
tion plans of manufacturers now mak-
ing soundie projection machines are car-
ried out, the number of 16mm sound pro-
jectors in this country will be trebled
this year. Should the plan not meet the
public fancy or prove only a fad, there
will be 60,000 16mm sound projectors
on the market at sell-out prices.

Film companies now hurriedly turn-
ing out three-minute talkies for the ma-
chines admit all films to be of the enter-
tainment calibre, but some are known to
be considering documentary and educa-
tional subjects for later release.

^^ocumentatied
on idi^oadi

wa^

Comes news of a Broadway first-run
house to be devoted exclusively to the
showing of documentary and educational j
films. Harold McCracken, President of j
Courier Productions, Inc., is making ar- |
rangements for a long-term lease of a
Broadway house which will offer pro- ;
grams of an hour or slightly more, with i
admissions at 25 cents.

Houses devoted exclusively to the
showing of newsreels have been running
for some time, both here and abroad, but
documentary and educational subjects
only is new in this country. The Poly-
technic in London has been successful
with this type film.

• • •

Wor. A ools

filming own . .

Many schools throughout America are
finding the production of their own
movies serves to give the students not
only photographic technique, but also
experience in dramatics, cooperation,
script-writing, and showmanship, not to
mention the educational value of the
subject matter being treated. English
classes prepare the scripts, dramatic

HOME MOVIES FOR FEBRUARY

imcathnal Ir jil\

SECTION

classes the cost, physics classes the cam-
era personnel, and in this way the entire
school has a part in the production.

Included among many schools active
in student filming is Bristol (Conn.)
High School, which, according to Mr.
E. F. Wheeler, director of the Visual
Education department, has already com-
pleted one film for the school year en-
titled Clocks^ and Watches — How They
Are Made. Running two reels 16mm, the
film depicts the essentials of making-
clocks and watches as filmed in one of
the local watch and clock factories.

The Perfect Rider — Hotv to Mount a
Horse, 1 reel 16mm, has been completed
by girls in the riding academy at Ste-
phens College (Columbia, Mo.). Two
other films of a documentary nature are
also being made by the same group.

The producers of Reunion, a 1 reel
16mm film showing activities at Theo-
dore Roosevelt High School, New York
City, worked out a rather unusual treat-
ment of the subject. The film starts with
two alumni of the school discussing their
experiences in the school when they were
students there. While they are talking,
the camera depicts the scenes they are
describing, carrying the audience back
to the years these two subjects were in
school.

Other student units are filming school
activities primarily for the enjoyment
obtained in the camera amusement af-
forded. The students at Roswell Junior
High School of Roswell, New Mexico,
have worked a detailed plot into their
latest feature length production Hi Ho,
Sylvia, which runs nearly 2000 feet
16mm.

ro^cLn

lewA

Rel’

routii

activity at US.C.

P>y Franklin B. Skeele

“Most photographers forget that a
camera is not only an instrument for tak-
ing pictures, but that it should always
tell a story.” This is the key to success-
ful motion pictures, accorcling to Her-
bert E. Farmer, student director of the
Trojan News Reel, which makes its ap-
pearance monthly on 16mm film on
the University of Southern California
campus.

Few stories of campus life escape
young Farmer, whether it be the record-
ing of sorority and fraternity life, pa-
rades, football games or documentary
films showing research projects of fac-
ulty. His latest film gave a permanent
Kodachrome record in sound of the two-
day dedication ceremonies for the new
$1,000,000 building for the Allan Han-
cock Foundation for Scientific Research.
Over 200 visiting delegates from as
many universities and colleges made
action and news in their academic robed
procession and activities.

“A newsreel type of film always calls
for action,” said the embryo producer.
“But do not forget that a series of at-
mosphere shots for fill-ins will give it
intense interest and keep it from being
just an ordinary picture.”

^owa d f^oik C^ount^ Ackooid

^ound a vua^ . . /

By George W. Cushman

1 HE operation of regular film cir-
cuits has solved for the schools in Polk
County (Iowa) the problem of bringing
visual instruction to the students.

The system parallels in some ways the
one now being used by St. Louis County
(Mo.), but in most respects it operates
much differently.

Mr. Kenneth Nicholson, superinten-
dent of the Polk County School System,
realized several years ago that visual
education was to become an important
part of everyday teaching.

Upon investigation he found that pro-
jection equipment for the various schools
in his county could not be afforded by his
department. Perhaps the schools could
raise the money, as so many other schools
have done. This would mean the pur-
chase of from one to two dozen ma-
chines, and yet each machine would be
used only once or twice a week.

“Why not,” he reasoned, “have all the
schools pool their funds and purchase
one good machine, sending it around to
the various schools as the needed it?”

The idea sounded like it might work.
At least it was worth trying. And so,
three years ago, the town and consoli-
dated schools in Polk County each con-
tributed their share towards the pur-
chase of a 16mm sound projector. The
minimum share was $10, and the maxi-
mum share was $25, the size of each con-
tribution being determined by the size of
the school enrollment.

Mr. Nicholson’s next problem was to
work out some system of transporting
the machine from one school to anothei’
as it was needed. Also, the matter of an
operator for the machine had to be con-
sidered.

Luck seemed to favor Mr. Nicholson
and his schools. They discovered that the
W.P.A. would furnish a competent man
to operate the projector providing the
school system would pay his travelling
expenses. This the schools readily agreed
to do.

For the past three years the same man
has been serving as operator, and no

• Continued on Page. 93

He cited the campus event with Alice
Marble giving a professional tennis dem-
on strati on. Instead of an entire film
showing her in action, which in itself is
outstanding to be sure. Farmer sand-
wiched in a number of shots of the
crowd as they turned their heads in uni-
son to watch the ball. Then to add spice,
he found a small dog doing the same
thing, which gave variety and humoi’ to
the film.

“Gag shots, especially with sound,
should be planned in the picture and
action rather than too much humor in
the comments,” advised Farmer. “Most
commentators spoil it with attempts to
be humorous when the action can do a
better job.” He mentioned a track meet
which in addition to the athletes, in-
cluded a single student sitting alone at
the end of a bench. And during an ex-
citing race he stood up to yell, which the
sound editor cleverly fixed to let the
movie audience heai- the shouts of a tre-
mendous crowd.

Farmer has found that he has better
results with 24 frames on all action pic-
tures, then he dubs in the sound at the
same speed. This gives smoother results
especially if the action is fast and there
is considerable panning to do.

Also with sound he finds that he can
keep his camera longer on the subjects
than with silent pictures. The audience
has to take in both the visual and the
auditory senses.

Other admonitions by the S.C. director
include the shooting of parades. “Always
vary your position if possible, for no
matter how interesting your subject may
be it becomes tiresome if the camera re-
mains in the same place,” he said. He
suggested the same rule for all camera
pushers; that four angles of the same
subject are so much more interesting
than just one.

As head of the Trojan News Reel,
Farmer directs the activities of some 20
students, including an associate pro-
ducer, script writer, camera man, editor
and commentary writer. The majority
of students are majoring in cinematog-
raphy with its 28 different courses, al-
though others from the departments of
speech and I’adio are helpful in their
training.

Professor Warren Scott as advisor is
assisted by Arnold Eddy who serves as
manager of the Associated Students. The
student group is charged with the tak-
ing of all football games for study by
the players and coaches. This is done
with kodachrome and at 32 frames until
the light requires 48 frames for the late
shadows on the playing field.

PAGE 80

HOME MOVIES FOR FEBRUARY

Camera Support

Because the manufacturer failed to
consider the use of a tripod with the
early model Keystone 16mm camera
in designing its round case, those who
own such cameras find it difficult to keep
it steady when mounted on any type tri-
pod or tripod head.

To remedy this evil, I made a support
which I attached to the tilt pan head of
my tripod and which engages a pin at-
tached to the back of my camera as
shown in the illustration. This lends full
rigidity to the camera, making it pos-
sible to tilt or pan with absolute steadi-
ness.

The support “A” was made from a
piece of ordinary strap iron, bent, and
drilled to accommodate the bolt used
to attach it to tilt-pan head and then
pierced to accommodate pin in camera
as shown at “B” and “C.”

— Jack Vaughn.

Parallax Corrector

After vainly trying to make the neces-
sary allowances — guesses really — for
parallax and spoiling several closeup
shots of bird life, the writer became suf-
ficiently aggravated to work out the fol-
lowing solution for his Bell and Howell
double 8 movie camera. Since the rem-
edy is so relatively simple to apply, own-
ers of double 8’s can readily avoid the
loss of closeup shots because of parallax.
By analogy, owners of other movie cam-
eras can work out a solution adapted to
their particular cameras.

The plan will be obvious from the fol-
lowing Figure and equation :

EC,,D is finder axis

CiO is photographic lens axis

E = eyeglass of viewfinder

Co = center of viewfinder objective

Distance ECo=3 in.

Cl = center of photographic lens
0 = center of object to be photographed

THE [HERIMEHU

Distance CiO in feet = d = CoD
Horizontal displacement of finder and lens

10"

axis = — = CoA
16

Vertical displacement of finder and lens

15"

axis = — = ACj

dft.

X in.

18"

0.225

C„B = X

C„Ci = — =l."125 = OD

. . . . 0.125

0.086

X BCt BC<

0.066

E Co C,0 d

5 ....

0.054

X 1.125 — X

6 ....

0.045

3 12d

. . . . 0.034

3.375

X =

0.027

3 -h 12d

0.014

Now lay out on a piece of celluloid or
thin cardboard as follows:

The rectangle HIJK represents the
finder objective. Mark center point Co
and three other points on line CoG^ at
distances 0.066, 0.125, and 0.225 in., re-
spectively, from Co. Cut out portion
HIJK, clip corners slightly, make small
holes through points, set piece HIJK in
frame or finder objective, mark dots
through holes on objective using fine pen
and draftsman’s waterproof India ink.
This will last a long time before renewal
is necessary. Make this handy reference
chart to paste on the back edge of your
Double 8 so you can quickly ascertain
which point is the center sighting point
for the distance of your object. Call the
real center of the finder objective Co and
the other three points in succession 3, 2,
and 1.

Dist. Ft.
1 . . .
1.4 . ,
2 ...
2.7 .
4 . . .
8 . . .

Point

middle

— G. H. Bainbridge.

to place the title letters. The wooden
block letters are merely placed standing
up on the strip, as shown, and will re-
main in place in even a moderate breeze.

With the frame set up before the de-
sired background the title letters are
assembled, and the title photographed.
Essential, of course, is that both title
and background are in sharp focus.

Length and number of lines on the
rack may be varied to suit individual
needs.

— Edgar Robyn.

Lamp Saver

Drawing shows an arrangement I
made for my model A-81 Keystone pro-
jector to pre-heat the projection lamp
before full voltage is applied and thus
lengthen its life. After replacing a few
lamps at $4.50 per, I reasoned that pre-
heating it would tend to lessen the shock

PROJECTOR

1. NEW SWITCH.

2. NEW SWITCH.

3. OLD LIGHT-

SWITCH
4 PP?OJECTOR -
MOTOR SWITCH

5. flat iron heating element

6. projector lamp.

fj-

Title Backgrounds

In order to get suitable backgrounds
for either black and white or color titles,
I made^ frame of square wood, sur-
faced four sides, as shown in sketch. The
entire frame was painted a flat black.
On top edge of cross pieces, I cemented
strips of electrician’s black friction tape.
This provided a tacky surface on which

when the full voltage was applied. The
“shock-absorber” I devised proved my
reasoning to be correct, for my projec-
tion lamps now last a great deal longer.

Purchasing a replacement element and
two small snap switches from the local
dime store, these were wired to my pro-
jector as follows: The base plate was
first removed and then two holes drilled
through the base to accommodate the two

PAGE 81

HOME MOVIES FOR FEBRUARY

c I n

WORKSHOP

■i

* switches. Two more holes were drilled to
j permit bolting the heating element to
the projector casting. Wiring was com-
pleted as per diagram,
j To operate, switches 3 and 2 are
I snapped on in rotation which gradually
j increase the amount of voltage going to
i the lamp; then No. 1, which directs the
j full amount of current to the lamp.

I have since applied this arrangement
! to other makes of projectors with good
I results.

' — E.Churney.

Duplicating Printer

Sketch shows a gadget w'hich I made
to use on my Univex Projector for print-
ing films and making successful fade-ins
and fade-outs (same being accomplished
with the use of a dimmer-switch).

First, make a tin cylinder about 6"
long and 2(4" in diameter, leaving one
end open and solder the dimmer-switch
to the other end. Make a cap or cover to
fit snugly over this cylinder and solder
a tube about 1" long and the same
diameter as the lens. This tube is to fit
over the lens.

Fasten a key-socket to a strap iron
bracket about thick, to hold the gad-
get in position. I use a 15-watt bulb
when duplicating with Eastman Posi-
tive film. The film to duplicate with is
placed with the glossy side towards the
lamp and behind this, the raw film with
emulsion (dull) side facing the emulsion
of the processed film. This is important.
Use tap to cut out all astray light.

Make sure the pull down claw goes
through the perforations of both films.
Run the projector at a slow speed. (The
ends of film can be run on the bottom
reel or run into the basket.)

To make fade-outs or fade-ins, make

a mask with wax pencil or black ink on
the edge of film to be duplicated. When
these markings are reached simply turn
the dimmer-switch all the way down and
then back up again. (Run about two feet
of film.) With a little experience you
will be able to do this successfully.

When I have a film that is a little
under-exposed I use a 20-watt bulb and
cut it down to about 17-watts with my
dimmer-switch and the film is printed
with good sharp pictures. When film is
over-exposed I cut down the 15-watt
bulb to about 12 or 13 watts. This ex-
plains the markings that I put on the
dimmer-switch.

— S. Kasprzycki.

Centering Titles

Here is an idea for centering titles
that is an outgrowth of the title center-
ing guides recently published by Home
Movies. It is particularly helpful as I
make my titles from large 14 by 18%
inch title cards for a 12 by 16 inch title
area. Others will find it equally bene-
ficial.

The title board is constructed of ply-
wood and rimmed with a frame of
quarter-round moulding. When finished
the inside area should accurately meas-
ure 14 and inches by 19 and %2
inches for the Filmo 8mm camera. This
provides for use of title cards of the
dimensions previously given.

To use, the title board is placed on the
floor, and the lights and camera set up
above it so that we shoot straight down,
vertically to the board. The title card is
placed on the board and, in the case of

my Filmo 8mm camera, is moved to the
upper right hand corner during focusing.

When ready to shoot, the card is shift-
ed to the lower left hand corner, which
automatically corrects position of card
for parallax and centers it with cam-
era lens.

This principle may be applied for use
with other cameras by using the title
centering guides published in Home
Movies as a basis of constructing the
title board.

— Harold Grundy.

^ad^etdy tricLA and
dLort cutd contributed

Cd^inebu

IF YOU have an idea for a gadget, trick,
or shortcut in filming, titling, editing or
processing home movies, pass it on to your
fellow cinebugs through these columns. If
your idea is published you will receive two
reels for your efforts. Extraordinary ideas
will net you a roll of film.

Ideas not published will be held for future
publication unless they duplicate ideas pre-
viously received. Endeavor also to send along
photos or rough sketches illustrating yaur
suggestions. There is no limit to number of
suggestions you may submit.

Important: When submitting ideas, be sure
to mention whether equipment you use is
8mm or 16mm, enabling us to promptly for-
ward awards adaptable ta your use.

RoHing Block Tiller

Photo shows a gadget I constructed
for use with mv Eastman titler for mak-
ing roll-around titles. It is mounted on a
wooden base that has been cut to fit
snugly beneath the end of the titler. The
two curved metal supports were cut from
lightweight metal, and the block is a sec-
tion from a regular piece of four-by-
four, finished to 2f4" x 2(4" and painted
flat black. The title area is penciled in
white to serve as a guide for attaching
the title card which is done with scotch
tape or thumb tacks.

The block turns upon an axle made of
round brass rod which has been
turned at one end. after mounting, to
form a handle. White marks painted on
one end of the block cori’espond with
similai’ marks painted on the metal sup-
nort to indicate when front surface of
block is in exact vertical position during
filming of titles.

The entire assembly may be attached
permanently to the titler by drilling two
holes in titler base and attaching to
wooden base with wood screws.

— .d. F. Evcritis.

PAGE 82

HOME MOVIES FOR FEBRUARY

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• Continued from Page 69

$10.00 per roll for the pic-
tures.

“About this time I be-
came acquainted with Mae
Wilson, an aviatrix con-
ducting her own airport and
flying school on River Road
just outside of Chicago. I
showed some of the films I
had made, then sold Mae the
idea of making movies of
her training some of her pu-
pils. Later I sold her my
camera and, with funds thus
acquired plus money earned
to date in picture making, I
bought a later model.

In 1937, while visiting
the Peggy McBeth gown
shop on Michigan Avenue,

I sold the proprietor on the
idea of making movies in
color of the fashion show
which they planned to give.
I closed a deal whereby I
was to make the picture and
furnish the film in return
for which I would receive
payment partly in cash and
the balance in merchandise.
Also included in the deal
were 25 tickets to the
fashion show which 1 could
give to my friends. All told,
I received $25.00 in cash,
$25.00 in tickets, and $10()
in merchandise for my first
real commercial picture.

“I saw opportunity to
make good use of those 25
tickets. I distributed them
among wives of prominent
business men and private
secretaries of men whom I
felt might be able to help
me later. I figured at least
it would be pretty good pub-
licity for me when such
people saw me actually di-
recting and filming movies ;
that ultimately these women
would tell their husbands or
their bosses about me. I felt
it couldn’t do any harm.
And it didn’t. Four were
either wives or secretaries
of men prominent with
A. G. Spaulding & Broth-
ers, national sporting goods
manufacturers and dis-
tributors.

“Not long afterward I re-
ceived a commission from
the A. G. Spaulding & Bros.
Company to film a complete
record of the International
Tennis meet at the Onwent-
sia Club, Lake Forest, Illi-
nois. After completing this

film, Spalding’s had several
prints made for distribu-
tion among tennis clubs
throughout the United
States, Canada and Mexico.

“Thereafter, tennis pros
around Chicago sought me
out to make short films, pic-
turing them instructing as-
piring tennis champions or
just plain tennis students.
Frequently, the students
would order copies of the
films, which added to my
revenue acquired in filming
movies.

“I always endeavored to
be on hand with my movie
camera wherever an impor-
tant sporting event was to
take place. Sometimes, by
getting on the scene first
and laying all necessary
preliminary plans, I had a
better camera setup than
the newsreel boys.

. “In the spring of 1937, I
went to Milwaukee without
any advance plans whatever
to film a golfing exhibition
being conducted to demon-
strate a line of golf clubs
and balls. With a little bluff-
ing I managed to work
through the crowds of spec-
tators and right up to the
front lines where I shot
both 8mm and 16mm movies
of such golfing greats as
Jimmy Thompson, Horton
Smith, Lawson Little, and
Harry Cooper.

“Later, when these men
learned of my making
movies of the events, every
one placed an order for one
or more prints. Before leav-
ing Milwaukee, I invaded
the training camp of the
Milwaukee Brewer’s base-

• All Amateurs, whether sub-
scribers of HOME MOVIES or not,
ore invited to submit their films
to the editors for review and help-
ful criticism. Unless otherwise re-
quested, reviews of some of the
films which we believe would ben-
efit other amateurs will be pub-
lished each month.

Reviewed films will be rated
one, two, three, and four stars,
and films qualifying for two or
more stars will receive, free, an
animated leader indicative of such
award. Detailed reviews, with sug-
gestions for improvement — if any
— will be mailed to amateurs sub-
mitting their films.

Exceptional films qualifying for

ball club and made movies
of the team in action pre-
paring for a forthcoming-
game with the Columbus
Red Birds. Among the out-
standing players on whom I
trained my camera was Tot
Presnell, now an important
part of the pitching staff of
the St. Louis Cardinals. Tot
liked my films so much, he
not only bought a print, but
immediately purchased a
complete home movie outfit.
Today he is a rabid ama-
teur movie maker.

“Following this I was
commissioned to produce
several commercials, includ-
ing a short skit in a bar
room; a ski meet at Cary,
Illinois ; a film of the A. B.
Carder restaurant in Chi-
cago ; a reel on Johnny Cou-
lon, former bantamweight
champion of the world, in-
structing youths in the
manly art of self-defense;
and movies of winter sports
at Lake Placid during the
winter of 1938 and 1939.

“Earlier, in the spring of
1937, I met a gentleman
promoting a kid organiza-
tion among small town deal-
ers. ‘Lucky Buck Pal Club’
was the name of the organi-
zation. Idea was for boy
members to induce parents
to trade with local mer-
chants who gave Lucky
Bucks with the purchase of
goods. The Lucky Bucks, in
turn, were redeemable by
the boy club members for
baseball bats, gloves, etc.

I sold this man on film-
ing the whole club idea in
16mm color. I wrote a con-
tinuity around the theme of

the distinction of the "Movie of
the Month" will be treated in de-
tail in a feature length article in
a following issue of HOME MOV-
IES. In addition, a certificate evi-
dencing the oward of "Movie of
the Month" and a special ani-
mated "Movie of the Month"
leader will be returned with such
films after review.

When submitting films for re-
view and analysis, please advise
make of camera, speed of lens,
whether or not tripod was used,
or if you used filters, exposure
meter, or other accessories. While
this information is not essential
to obtain analysis of your film,
we would like to pass it on for
the benefit of other amateurs.

HOME MOVIES FOR FEBRUARY

PAGE 83

I the ‘Pied Piper of Hamlin’
for the picture and com-

j pleted the production in
four weeks. All children in
j Maywood, Illinois, who
I were members of the Lucky
: I Buck and Pal Club were
used in the picture. Mr.
■ Miller, owner of the Lido
j Theatre there, arranged for

I I a showing of the film in con-
I junction with his regular

programs. The first Satur-
I day matinee was a sellout,
and the program was re-
I peated that evening and the
: next for parents and grown-
ups. The picture proved
j such a hit, that for weeks it
i continued to be featured by
I the Lido Theatre.

! “The theatre manager was
so impressed he arranged
for me to make additional
pictures in which children
' of the neighborhood took
part. We arranged for the
kids to perform on the stage
! of the theatre on Saturday
mornings. The following
Saturday afternoon, the pic-
ture would be completely
edited and titled and ready
I for showing. Only last week
Mr. Hoffman, who originat-
ed the ‘Lucky Buck Pal
j Club,’ telephoned me to ar-
1 range for another produc-

tion similar to our first ex-
cept that this time, it was
to be in sound. His clubs are
now called the ‘Smackers
Club.’

Last October, I made an
800 foot all color produc-
tion entitled, ‘Farewell to
Babaian’ for Mr. A. T.
Bard, vice president of the
Reliance Mfg. Co., Chicago.
Babaian was the name of
his vast estate near La
Porte, Indiana, which had
just been sold to the gov-
ernment as a site for a pro-
posed arsenal. Mr. Bard
wanted a sort of movie
memory book of his estate
which would show the dis-
posal of all his farm equip-
ment, thoroughbred cattle
and horses, etc., as they
were auctioned off. Most of
the scenes I filmed from the
tops of barns, and buildings
about the place, and often I
was hampered by the host
of farmers who stood about
watching me work, slowing
progress of the auction no
little !

“Two months later I
filmed the wedding of Mr.
Bard’s son. Lieutenant Rob-
ert E. Bard of Ft. Knox,
Kentucky, to Rose Mary

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PAGE 84

HOME MOVIES FOR FEBRUARY

THE LOW-COST
EFFICIENT

eemann

EDITEER

$12.50

Composed of Rewinds, Splicer, Illuminated
Filmviewer and Film Rack, mounted on hand-
some alderwood baseboard. For 8mm and
16mm film.

SPLICEMASTER $6.75

Comprises Splicer and Rewinds, on attrac-
tively finished baseboard. A junior editing
board for those who do not need the more
complete facilities of the. Editeer. For 8mm
and 16mm film.

SPLICER . . . $2.95

An all-metal unit, sturdily built, featuring
the Dry Emu-lsion Scraper. Quick, accurate
splices which will not come apart. For 8mm
and 16mm film.

TITLERS

MODEL ‘A’ $6.95

MODEL ‘R’ pS,, $9.95

Fits all 8mm and 16mm cameras. Makes
accurate, centered titles. Is equipped with
continuous rolling attachment for scroll or
rolling titles.

SEEMANNS, INC.

6628 Santa Monica Blvd.

HOLLYWOOD

86 Third Street • San Francisco

Best. Three copies of this
film were made and dis-
tributed as gifts from Mr.
Bard to his family.”

In due time, because of
her prowess behind a cine
camera and of the renown
which followed her filming
activities, Florence Johns-
ton was engaged to take
over production of 16mm
pictures by the Filmack
Trailer Co., Chicago, Illi-
nois. She is now revamping
and enlarging the 16mm
production facilities of this
company.

• Continued from Page 67

Now return to the camera
case, immediately below the
regular release button, a
hole is drilled and tapped
with a l^-28 tap; into this
is threaded the brass bush-
ing (Fig. 2). The location
for this bushing may be as-
certained by studying Pho-
tograph A. Its extreme up-
per edge just clears the
lower edge of the regular
release button bushing. One
edge of the new bushing
will cover the beading on
the front of the camera, so
in order to thread the bush-
ing down flush with the
camera case, we must flat-
ten this beading. The case
is aluminum, and the bead-
ing may be flattened by
driving it down with a
hardwood dowel of the same
diameter as the bushing.
During this operation be
sure the front of the cam-
era case is well supported
from underneath by a
rounded block of wood to
prevent warping case.

As there is a variety of
button releases on the mar-
ket, the inside of the bush-
ing may be drilled and
tapped to suit the individual
need. A cable release is not
recommended.

The camera is reassem-
bled in the reverse order to
that which was used in tak-
ing it apart. In replacing
the clock^^ork mechanism,
replace the bottom first.

The mechanical action is
as follows; When the new
release button is pressed, it
forces down both of the re-

At present she is filming a
production for the Reliance
Manufacturing Co., of Chi-
cago. Much of the picture
will cover process of manu-
facture, testing, and use of
parachutes, for which this
company’s Kokomo, In-
diana, plant has been en-
gaged to turn out for the
government. When this pro-
duction is finished, there are
five more waiting for her to
be produced for this same
client.

And that’s what happened
to a little girl who likes to be
around “where the wheels
go ’round”; whose love for
photography dates back to

lease arms. This disengages
the regular stop and brings
the new arm into position
to strike against the new
stop pin. The gear wheel
(Photo. E) revolves till the
stop pin comes in contact
with the new arm and dur-
ing this time the shutter
opens and closes. When the
button is released the new
arm disengages from the
stop pin and allows the
wheel to continue on around

the time she ran around in
pigtails dodging the whirl-
ing props of rickety crates
of her home town airport;
and who dared the wrath of
her big brother to shoot the
kind of pictures which later
were destined to be her
career. Indeed, Florence
Johnston still likes to be
where the wheels go around.
The sound of whirring
gears within a movie cam-
era are sweet music to her.
On those wheels she has
really gone places within
the past few years. And who
is there to say that she will
not go farther — perhaps on
to Hollywood?

until it is halted by the
regular stop arm. During
this part of the operation
another frame of film is
transported into place.

And there you have it —
a single frame release for
your camera that will ex-
pand its picture making
possibilities, enabling you
to make trick shots in stop
motion and do animation
work both in titling and
filming of scenes.

Movie of the Month

This award does not affect the
eligibility of such films for entry in
the annual HOME MOVIES CON
TEST. They are automatically en-
tered for rejudging with those films
submitted especially for the annual
contest. Films awarded the honor
of MOVIE OF THE MONTH dur-
ing past 12 months are:

1940

MARCH: "Checking Off the
Budget," produced by B. W. John-
son. An 8mm Kodachrome film
1 000 ft. in length.

APRIL: "El Lobo," produced by
Demetris Emanuel. A 16mm pic-
ture 400 ft. in length.

MAY: "From A to Z," produced
bv Vernon Altree, Stockton, Calif.
A 16mm Kodachrome film 400 ft.
in length.

JUNE: "Peetie," produced by
Edmund Turner, Detroit, Mich. A
16mm Animated Cartoon, 400 ft.
in length.

JULY: "Song of the Soil," pro-
duced by E. C. Denny, Buffalo,

N. Y. A 16mm Kodachrome film
800 ft. in length.

AUGUST: "St. Margarets," pro-
duced by Gordon MacCormack,
Montreal, Canada. A 16mm Koda-
chrome film 400 ft. in length.

SEPTEMBER: "Angels Are Made
of Wood," produced by Herman
Bartel, New Rochelle, N. Y. An
8mm Kodachrome film 200 feet in
length. (Winner Lloyd Bacon Tro-
phy, 1940 Amaleur Contest.)

OCTOBER: "Driftwood," pro-
duced by A. O. Jensen, Seattle,
Wash. An 8mm Kodachrome film
400 feet in length.

NOVEMBER: "Father's Time,"
produced by Raymond Fosholdt,
Long Beach, Calif. A 16mm pic-
ture, 400 feet in length.

DECEMBER: "Spokane and The
Inland Empire," produced by Bur-
ton Belknap, Spokane, Washington.
A 16mm Kodachrome picture, ap-
proximately 800 feet in length.

1941

JANUARY: "Three Wishes” pro-
duced by Earl Cochran, Colorado
Springs, Colorado. An 8mm Koda-
chrome picture, 125 feet in length.

FEBRUARY: "Happy Landing,"
produced by Mildred Caldwell,
Long Beach, Calif. An 8mm Koda-
chrome picture, approximately 400
feet in length.

ORDER FOR SUBSCRIPTION

iome Movies Magazine

i; w, 12 MONTHS FOR $2.00 IN U. S.

\ In Canada, $3.00; Foreign — $3.00

|l SPECIAL OFFER: 3 Years for $5.00 in fhe U. S.

!ME MOVIES

|0 Sunset Blvd. ^

Ilywood, Calif.

Send to

! Address

i City State

I i □ New □ Renewal □ Sift

Addr

NO SUBSCRIPTIONS ACCEPTED FOR LESS THAN ONE YEAR

HOME MOVIES FOR FEBRUARY

PAGE 85

•TITLE TROOBLES-

By GEORGE W. CUSHMAN

; If you have any ques-
tions concerning titles or
I title making, Mr. Cushman
i will be glad to help you. You
can write him in care of
I this magazine or direct to
! his home address, 3425 Wit-
i mer Parkway, Des Moines,
Iowa. Be sure to enclose a
I self-addressed stamped en-
velope for your reply. It is
best to include all possible
information such as the de-
veloper, film, equipment and
light used. Send samples
when available.

Q. Of the three types of
illumination available for
title stands, mercury vapor,
photoflood or the new fluor-
i escent, ivhich do you con-
sider the best? — A. S. K.,
Yellow Springs, Ohio.

A. The fluorescent light-
ing is so new that at this
writing it has not been test-
ed sufficiently to warrant
definite conclusions. I do
know that one of the larger
' professional title laborato-
ries has recently installed
this type of lighting be-
I cause, they say, it is (1)
I cheaper in initial cost as
■ compared to mercury vapor,

, (2) lower in operating ex-
i pense, (3) cooler in opera-
U tion, (4) greater in photo-
graphic light (mercury va-
por is greenish), and (5)
j correct for color film work.

Comparing the fluores-
i| cent with photoflood illumi-
I nation, the initial cost is
;! much greater with the for-
I mer, but the worker is not
troubled with the excessive
' heat evolved with photo-
flood. Both give off a white
i light suitable for color ti-
'I ties. The final decision rests
with the individual and the
I' amount of work he intends
; to do. With only a few titles
I now and then, photofloods
will suffice, but with much
work, the fluorescent, due
to its cooler and smoother
I operation, would in the long
run probably merit the
I higher initial expense.

Q. Can you furnish me
i with a reliable formida for
’ 1 determining hoiu big my
;i title area is at various dis-

tances?— C. E. S., Hot
Springs, Ark.

A. With a 25mm lens on a
16mm camera, or a 12 1/9 mm
lens on an 8mm camera, the
width of the area is always
two-fifths of the distance
from the camera lens to ti-
tle. For instance, the cam-
era is 30 inches from the
title. Two-fifths of 30 is 12.
The title area will be 12
inches wide. As you prob-
ably already know, the
height is just three-fourths
the width, or in this case 9
inches. Hence, your field
at 30 inches will be 9x12
inches.

Q. I enclose a sample of
title film which shows un-
evenly on the screen, and I
cannot account for it. I fol-
lowed directions carefully,
and would appreciate any
help as to the cause. —
B. S. E., Pensacola, Fla.

A. This film has not been
kept in the hypo or fixing
bath long enough. The un-
evenness you speak of is due
to the remaining silver salts
not being all carried away
by the fixing bath, and as
a result the density varies.
Keep the film in the fixing
bath until all traces of this
milky appearance are gone,
no matter how long it takes.
Any films which you now
have in this condition are
not wasted, but can be cor-
rected by placing them back
in the hypo for several min-
utes, until the milkiness has
all disappeared. After a
thorough washing, dry them
and you will see that they
are all right.

Q. On page 29 of your
book, “How to Title Home
Movies” you show different
exposures for the same film.
I am referring to the posi-
tive films ivhich, when used
as a negative, take less ex-
posure than ivhen reversed.
What does development
have to do ivith the sensitiv-
ity of a film? Why wouldn’t
the same exposure be given
on a film regardless of what
development was given? —
M. F., Brooklyn, N. Y.

A. If you will notice the

TITLEER
ACCESSORY
KIT NO. 1

Includes an 8" auxiliary lens, set of 25 Titles and Back-
grounds, a translucent screen for rear projection shots and
two sheets of clear celluloid for superimposed titles.*,^ __

Complete Kit 1

At Your Dealer or Write to

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Complete with two auxiliary lenses, celluloid target,
instructions and valuable titling data.

TITLEER PROFESSIONAL ATTACHMENT

With this new attachment it is possible to make Turnover,
Turnabout, Turnaround, Flop Up and Flop Down, Revolv-
ing, Horizontal and Vertical Scroll and Rolling Titles.
Superimposed, Pushout or Wipe Off Effect Titles, Zoom
combinations and many other professional titles. The Pro-
fessional Attachment is instantly attached to the Master
Titleer. ^ I

Professional Attachment

NOTE THESE
FEATURES!

A larger "field area" is created by photograph-
ing titles at a 12" distance. This larger area
allows more room for hand lettering, printing,
drawing, and special effects. Title cards may
also be photographed at 4", 6" and 8" in addi-
tion to the 12" dista nee. ★★★★ Zoom titles
and superimposed titles are easily made on the
Titleer. ★★★★ Title backgrounds and anima-
tion sets appearing each month in Home Movies
are readily accommodated. ★★★★ Accurate
alignment is assured with a custom-made cam-
era base tor your particular camera, eliminating
all fuss and bother in lining up titles. Bases for
all popular cameras are interchangeable on the
Titleer. ★★★★ All parts are adjustable on the
Titleer base, making it ideal tor table top copy
work and ultra close-up photography. ★★★★
Titleer may be used on any tripod or suspended
In a vertical position. ★★★★ The lighting as-
sembly is easily removed or placed at any posi-
tion on the Titleer base.

Custom camera bases to fit Revere 8, Eastman
Magazine 8, Bell & Howell, Keystone, and all
other popular cameras.

PAGE 86

HOME MOVIES FOR FEBRUARY

HOW TO MAKE
HOME MOVIE

GADGETS

Do you get o lot of pleasure
from building your own home
movie gadgets? Then here is
the very book you want. Chock
full of ideas for gadgets for
8mm and 16mm cameras and
projectors — things easy for
any amateur to make.

•

HOME MOVIE
GADGETS

AND HOW TO MAKE THEM

$1.00

per copy

postpaid

Nearly 100 pages profusely illustrated
with photos and sketches telling how to
make gadgets and accessories for cameras;
for making wipe-offs and fades; title mak-
ing; editing and splicing; and a host of
others.

No theories — every gadget tested and
proven by an advanced amateur. The plans
and specifications alone of ust one of the
gadgets is easily worth the price of the
book. Limited printing on first edition.
Order now!

VER HALEN PUBLICATIONS

6060 Sunset Blvd., Hollywood, Calif.

MAKE YOUR OWN TITLES

New magnetic, third-dimen-
sion. plastic letters adhere
tirmly in any position to
metal backgrounds through
paper, cloth, cellophane.

91 White Magnetic letters,
9x12, or 10x14 black metal
panel, complete $9.50. Color
Letter Set $12.00.

At Your Dealer or Order from

HAMILTON DWIGHT COMPANY
155 East 44th Street New York City

footnotes on that same page
you will see that it says
these exposures depend
somewhat on the formula
used. It is a known fact
that some reversal formu-
las do slow up the emulsion
speeds of many film.s. It is
of course possible that your
formula does allow the film
to retain all its speed, but
since most formulas do tend
to slow down the film about

one stop, the next larger
opening was suggested in
the table on page 29 to
which you refer.

You will find it interest-
ing to test out this fact by
exposing a piece of film at
a given aperture, develop-
ing half of the film to a neg-
ative only, and reversing
the other half. Should the
reversed half prove to be
correctly exposed, you will

no doubt find the negative
strip over-exposed (assum-
ing both are given normal
development). The loss in
speed in reversal could be
picked up by lengthening
the time in the first devel-
oper, but this would usually
be found to increase the con-
trast considerably and re-
sult in poor projection.

“P‘

un reSu

» Continued from Page 64

itd with positive

ethyl alcohol in 94% (188
proof) to cover my film
racks without costing a for-
tune, because this is the
same stuff your drinkin’
uncle uses. Denatured 188-
proof radiator alcohol, such
as the Ajax brand, will
work with excellent results.
Care must be taken that
radiator alcohol — the stuff
sold for anti-freeze solu-
tions— contains no particle
of oil which would wreak
havoc with the film. Use of
distilled water is important
to avoid the milky precipi-
tate that forms when min-
eral-charged tap water is
used.

With the formula pre-
pared and your equipment
ready for the job, wind the
film on the rack with the
aid of a regular panchro-
matic safelight and be sure
to extinguish this safelight
just before immersing film
in the dye solution. The
stuff is potent! Bathe blind
positive emulsion for 4)4
minutes at 65°. Rinse in
94% alcohol for 2 minutes,
then dry film in total dark-
ness. As the film is wound
on the drying reel, it should
be lightly squeezed. It will
dry normally between 10
and 15 minutes.

Spooled and threaded into
your camera, this film may
be exposed without filter at
f/8 or f/11 in bright sun-
light. Filter factors are the
same as for regular pan-
chromatic film of the same
speed. For further data on
use of filters, reference to
the filter factor charts pub-
lished in_^.ea-rlier issues of
Home Movies is recom-
mended.

There is just one precau-
tion one must take: the
“panchromatized” quality

of this hopped-up positive
film is rather perishable and
therefore should be exposed
within 10 days after the

dyeing process. But what
true cinebug can’t use a
hundred feet of film in 10
days!

EXPOSURE TABLES FOR PHOTOFLOOD LAMPS

For Use With Good Reflectors

Distance

Lamps

’Diaphragm opening for films with
Weston Mazda speeds of:

Photoflood

Lamps

Subject
in Feet

3J4

f2.8

f3.5

f4.5

f5.6

fl.3

f2^8

f4.5

fi.6

f1.9

f3.5

f4.5

f2.8

ft.3

f1.5

f1.9

f3.5

fi.6

One

fi.9

fis

f3.5

ft.3

No. 1

Lamp

f1.5

f1.9

fii

fS.6

fi.5

fit

M.S

fi.9

13.5

fi.5

fl.6

fi.5

M.9

fit

13.5

y/2

f3.5

f4.5

f5.6

f6.3

f3.5

f4.5

f6.3

f11

43-^

f2.8

f5.6

f6.3

f3.5

f4.5

f5.6

534

f2.8

f3.5

f5.e

f1.9

f2.8

f4.5

Two No. Vs

614

f4.5

16.3

fis

f3.5

One No. 2

f1.5

fi.9

13.5

f5.6

fB.3

834

f^8

One No. R2

fi.9

f3.5

f4.5

fi.5

f1.9

12.8

15.6

f1.5

fis

f1.9

f3.5

fis

fi.5

fi.9

f1.5

f1.9

fl8

13.6

334

f5.6

f11

f4.5

fS.6

fi6

434

f3.5

f4.5

f6.3

f2.8

f5.6

fil

534

f3.5

f4.5

f6.3

f'3.5

f5.e

f6.3

Three No. Vs

634

fi8

f3.5

f4'5

fS.6

734

fi.9

f2.8

f4.5

One No. 2

834

f2i

f3.5

f4.6

16.3

and

934

f1.5

f1.9

f3.5

fS.6

One No. 1

1034

fi.9

fi8

13.5

f6.3

12.8

M.5

15.8

1234

fl.S

f1.9

fl.S

fZ8

f1.9

13.5

f4.5

f1.5

334

f5.6

f6.3

f11

f4.5

f5.6

f6.3

f11

lie

434

f3.5

f4.5

f5.6

f6.3

f16

Four No. Vs

534

f'4.5

f11

f2.8

f3.5

f4.5

f5.6

f8.3

Two No. 2's

634

16.3

f3.5

f5.6

Two No. R2's

734

f2.8

f4.5

f3.5

f5.6

One No. 2

834

fi.9

f2.8

f4.5

and

934

fZ8

f3.5

f4.5

re.3

Two No. Vs

f1.5

f1.9

fZ8

f3.5

f5.6

One No. 4

f1.9

13.5

f6.3

f2.8

f4.5

fi.5

fi.9

f5.6

f1.5

fie

f1.9

f3.5

M.5

fi.5

’For Weston speeds of popular films refer to Exposure Meter Guide on another page.
(See table of contents).

This data based on interiors and subject of medium color.

For light colored subjects and interiors close diaphragm one-half stop.

For dark colored subjects and interiors open diaphragm one-half stop.

HOME MOVIES FOR FEBRUARY

PAGE 87

BUKYARD moVIES

Ideas for Short Films

Mardi Gras

One event which will at-
tract tourists from all parts
of the country this month
is the annual March Gras
at New Orleans, Louisiana.
This colorful celebration
lasts one whole week and
begins this year on Wednes-
day, February 19th.

Undoubtedly there will be
many who will plan to film
the Mardi Gras and for the
benefit of those who would
like to film the events as
thoroughly as possible, get-
ting all the highlights — in
short, being prepared be-
forehand as to when, what,
and where to shoot — here is
complete data on all of the
events to be held each day
with advice on best possible
locations to set up your
camera.

Street pageants will be
staged on the days of Feb-
ruary 19th through the
25th, inclusive. As a rule
most major Newsreel com-
panies establish filming
stands at the corner of
Canal and St. Charles
Streets and sufficient light-
ing is maintained for tak-
ing movies of the first night
parade on Wednesday, Feb-
ruary 19th. If the amateur
photographer will arrange
to secure a position from an
elevation at this corner, it
will be possible to take ex-
cellent pictures in either
Black and White or Koda-
chrome.

There is also the day pa-
rade of Nor which may be
filmed from different angles
during the day of Saturday,
February 22nd. In view of
the fact that these pageants
are usually a riot of color,
most movie fans prefer film-
ing in Kodachrome. The pa-
rade of King Nor, as men-
tioned above, is staged by
the school children of New
Orleans and is compara-
tively a recent innovation.

Perhaps an important
highlight of these parades
and an interesting one is
the salute of the king to his
queen which invariably
takes place at a location
along Canal Street. The
various stops can be pre-de-
termined from the local As-

• If you have an idea for an
interesting short movie — some-
thing that might be filmed in
one s backard or not far from
home on a single roll of film —
why not pass it along to a
brother cinebug in our Back-
yard Movies department?

Those which we publish will
bring contributors either a 100
foot 16mm or 50 foot 8mm film
subject which may be selected
from the catalogs of any film
producer advertising in HOME
MOVIES.

For ideas and complete sce-
narios that can be adapted to
a feature length article, we will
award the contributor with two
rolls of panchromatic film.

Address all suggestions to
Backyard Movies Editor, c/o
HOME MOVIES, 6060 Sunset
Blvd., Hollywood, Calif.

sociation of Commerce and
an interesting film can be
planned. Carnival season in
New Orleans is climaxed by
festivities on Shrove Tues-
day or Mardi Gras day.
Promiscuous masking by
the general public from six
in the morning until six that
afternoon is quite an in-
teresting feature and the
amateur cinematographer
would do well to secure
shots of the various fun-
sters. There is really no
limit to the amount of in-
teresting pictures that may
be made and during Mardi
Gras day, Tuesday, Febru-
ary 25th, there are lots of
impromptu shots that will
ordinarily suggest them-
selves.

Most of the carnival balls
following these pageants
are exclusive and attend-
ance to them, as a rule, is
by private invitation only.
However, some of the balls
like Rex and Hermes are
semi-public and the cos-
tumes worn during these af-
fairs permit beautiful Ko-
dachrome supplements to
New Orleans Mardi Gras
films.

— E. ]. Lorch.

Gossip Gag'

Here is an idea for tieing
together a number of unre-
lated sequences and odd
shots into one reel that met
with enthusiastic response.
The opening scene shows
two women gossiping over

Think of setting up yoiur home
movie floodlights without toji-
gling with a lot of equipment
— separate bulbs, reflectors —
and what have you!

Think of just screwing a single
floodlighting unit into any con-
venient light socket, switching on
the "juice" and with a simple turn
of your wrist — directing a power-
ful flood of high-actinic, photo-
effective light exactly where you
need it!

That's what happens when you use
Wabash Reflector Superflood in its
detachable swivel socket! This new-

type floodlamp is built in one, fool-proof unit combining
both floodlamp and inside-fhe-bulb reflector of pure silver.
The special swivel socket adjusts with the touch of your
hand . . . holds light firmly on your subjects.

It is the quickest, easiest, handiest way to perfect movie
floodlighting— at home or "on location"!

Wabash Reflector Superflood is 85(* list. Swivel Socket
60^ list. At your dealer's. Or write to Wabash Photolamps,
Brooklyn, N. Y.

WABASH

SUPERFLOOD

Made by the Makers of the Famous Wabash
Superilasb Bulbs

Balanced
Efficiency
at Popular Prices!

Perfect blending of powerful "actinic"
illumination and long life features
these scientifically counter-balanced
Wabash Superflood lamps.

You can depend on them to give
you the brilliant flood of uniform
light you need for sporklingly clear
home movies. They're Wabash qual-
ity, throughout!

Superflood No. 1 is photographi-
cally equal to 750 watts; average
life, two hours at 115 volts— list price
15(!. Superflood No. 2 has twice the
light and three times the life of No.
1— list price SOt*. At your dealers'.

KNOW THE
DIFFERENCE

in tripods.,,
and you’ll insist on

THALHAMMER!

Exclusive THALHAMMER Features

1. THALHAMMER Sure-Foot reversible
points are the most efiicient, yet the eas-
iest to reverse — instantly interchangeable
— just fiip them over with your toe and
you have a corrugated non-skid rubber
pad for smooth floors or sharp metal claw
for rough, uneven ground.

2. THALHAMMER Pan Tilt heads— extra
smooth, free action, not too tight nor too
loose, but still free no matter how slow a
pan. Patented locking devices make for
quick set-up and quick aiming in any
direction.

3. THALHAMMER Instanl-On Plug — an
exclusive patented Thalhammer feature —
eliminates twisting the camera onto tri-
pod head — insures safety of camcr.1 — no
dropping — no awkward, clumsy handling
— positive locking.

4. THALILAMMER tripods arc RIGIDIZED
to insure stability and strength — manu-
factured to rigid, precision standards,
every operation is checked and every
THALHAMMER tripod is uncondition-
ally GUARANTEED free from defects in
materials and workmanship — they’re built
for a lifetime of service.

There's Just ONE LEADER

TH.-\LIIAMMER csiabllslicd leadership of 33
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struction, of building finely ma-
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Stop at your camera dealer’s today
—inspect these THALHAMMER
tripods — decide for yourself that it
is the best buy on the market —
compare with others — KNOW THE
DIFFERENCE— and then BUY!

THALHAMMER

PAGE 88

HOME MOVIES FOR FEBRUARY

Quality Bulk Movie Film

8mm • 9V2mm • 16mm • 35mm

SPECIAL PURCHASE . . . LIMITED SUPPLY
Genuine Anti-Halo, SUPER PANCHRO, MICRO-
GRAN, & High Speed ORTHO, in 96 ft. rolls. Lab.
packed cut into convenient 32 ft. lengths. SCORED.
SUPER PANCHRO REVERSAL
Speed 24-16 - Anti-Halo Backing

400 ft. 100 ft. 32 ft.
Double 8 — Scored ....$13.00 $3.60 $1.30

Single 8 7.00 2.00 .80

16mm 12.00 3.35

MICROGRAN PANCHRO REVERSAL

Speed 12-8 - Anti-Halo Backing, Extra Fine Grain
400 ft. 100 ft. 32 ft.
Double 8— Scored ....$12.00 $3.30 $1.20

Single 8 6.75 1.85 70

16mm 11.50 3.15

HIGH SPEED ORTHO REVERSAL

Speed 16-6 - Anti-Halo Backing
Prices Same as for Microgran Reversal
CINE-KODAK POSITIVE TITLE FILM
Darkroom Loading. Laboratory Packed
NOT Scored

400 ft. 100 ft. 33 ft.

Double 8 $ 4.10 $1.35 $ .60

Single 8 2.15 .90 .40

16mm 4.00 1.00

Clear, Purplehaze, Yellow, Red. Amber. Special Blue.
Also DuPont Lavender, Pink. Light Amber.
SUPER CINEPAN PLUS REVERSAL— Not Scored
Speed Gl-40 - Non-Halation Base

400 ft. 100 ft. 33 ft.

Double 8 $13.50 $3.85 $1.45

Single 8 7.00 2.15 .80

16mm .. . 12.50 3.50

SUPER CINEPAN REVERSAL— Not Scored
Speed 24-16 - Non-Halation Base

400 ft. 100 ft. 33 ft.

Double 8 $12.00 $3.35 $1.25

Single 8 6.50 1.90 .70

16mm .. 11.75 3.25

CINECHROME SEMI-ORTHO REVERSAL
Speed 8-2 - Non-Halation Base

400 ft. 100 ft. 33 ft.
Double 8— Not Scored..$ 5.75 $1.75 $ .75

Single 8 3.50 1.15 .50

16mm 5.00 1.45

CAMERA

SPOOLS

WITH CANS— Each

$ .35

$ 35

Eastman Double

8 40

iCmm, 100 ft

.. .60

EXTRA CANS.

Double 8

and Straight 8 size.....

.. .05

100 ft. and

50 ft. 16mm size

.. .10

Non-Humidor, 400 ft.

15c each; 10 for

.. 1.00

MISCELLANEOUS

BAIA Precision All Metal 8mm Slitter

FOTOFADE DYE, for making Chemical Fades

FOTOFADE WIPE-OFF TAPE, per roll

CTNETINTS, 6 Colors and Instructions

DnPONT VISCOSE SPONGES, each

HOW TO TITLE HOME -MOVIES, honk, each
HOJIE MOVIES. Back Issues. 1936-37-38-39..

Not all months in any year, 1940, each

TITLE DEVELOPER, tubes, each make 16 oz
FILM PROCESSING— PER ROLL

Reversal Title Developing
100 ft. 23 ft. 100 ft. 33 ft.

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Single 8 1.00 .35 .75 .40

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A PERSONAL MOVIE SERVICE

Telephone Lincoln 1207

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17 E. St. Joseph St. Indianapolis, Ind.

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71 Dey Street New York WOrth 2-6049

Adhesive Title Letters

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•

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•

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the back fence. One is speak-
ing with emphasis and then
follows shots of a short trip
made one Sunday last sum-
mer— just three or four
scenes. Flashing back to the
woman talking, the other
indicates increasing inter-
est, etc., and then there is
another sequence of shots
on another subject. This
procedure is followed until
all of the odd shots of im-

portance I had accumulated
were used. Where there was
a particular intimate shot
of some friends or members
of the family, this was pre-
ceded by a closeup of the
gossip drawing close to her
companion and whispering
in her ear. Humor was in-
jected into these “gossip”
shots as much as possible
and also into the sub-titles

which, incidentally, were
titles of the remarks made
by the gossip relative to the
action and subject matter
of the scenes that follow.
(There is a title background
captioned “Gossip” among
the backgrounds appearing
in this issue that is especi-
ally appropriate for the
main title of a reel of this
kind. — Editor.)

— Gloria Rixon.

o Continued from Page 76

movies .

their series of extra-curri-
cular activities in the school.

Advertising films have
also been made by T.N.T.

One of the school frater-
nities, wishing to give pub-
licity to a dance, enlisted
the services of the club in
making a short reel show-
ing scenes about the frater-
nity house, and shots taken
at a previous fraternity
dance. Everybody pictured
was having a good time, of
course. This was screened
at a school assembly.

A trailer for the picture,
“Too Many Husbands,”
which the club presented at
a special showing in the
school auditorium to finance
their picture-making, was
also made and run off at
assembly. The “trailer,”
however, turned out to be
more of a slapstick comedy,
with only an occasional plug
for the show it was intend-
ed to advertise.

It contained a clever use
of reverse action photog-
raphy, and another trick
which a few amateurs
might be interested in
using.

Main characters used were
two male students, also rec-
ognized about the school as
“characters.” Reverse ac-
tion was used to make one,
the victim of a hot foot per-
petrated by the other, j ump
to the top of a book case.

After jumping back down
from the case, the victim
pulls a revolver from his
hip and approaches his tor-
menter menacingly. As the
victim pulls the trigger, his
prey clasps his breast, and
blood squirts all over his
shirt as he collapses. This
makes an effective, if over-
done shooting, but is good
for slapstick purposes. The

blood effect is accomplished
by having a wet cloth or
sponge concealed in the
hand of the person who is
to be shot. When he grasps
at the wound in true horse
opera style, he squeezes the
sponge. The water that
lampens his shirt looks very
bloody in the finished photo-
graph.

T.N.T. also embraces an
art department which exe-
cutes all its titles. Pastels
are used for Kodachrome.

At regular meetings of
the club, time is divided be-
tween a program which
usually includes speakers
from other schools making
films or the Cleveland Cin-

^l^emonstrationS

• Continued from Page 78

amplification of important
phases by the lecturer. With
this film, it became possible
to give the entire class of
80 students a thorough and
intimate demonstration in
the 15 minutes alloted to
the course, without the nec-
essity of splitting the group
upon into sections.

The first experiment
proved so successful that
Kadel has moved on through
his subject into all phases,
making similar careful
movies of the technique of
each operation. He now has
three 200-foot reels on one-
stroke brush lettering, two
200-foot reels on card writ-
ing, and five 200-foot reels
on air brush work, all of
which are in standard use
in his classes, and all of
which eliminate congestion
and difficulty in handling
the crowded classes. Now in
process of production are
two 100-foot reels on pro-
gression of design, and on

ema League, and a skull ses-
sion when club difficulties,
either financial or technical
and sometimes both, are
ironed out.

It is the often hope of the
zealous cinefan to be able, i
some day, to take a place i
with the professionals in the
glamorous industry which
he is approaching from the
unglamorous side.

And so Cleveland Heights
High School and T.N.T.
may develop several mem-
bers of the motion picture
industry of the future. Not
only some technicians, but
maybe even a few of the
big boys who smoke black
cigars and buy the film.

on (dm . . .

sandblasting, the Dallas vo-
cational school being the
only one in the United
States with sandblasting
apparatus.

The success of Kadel ’s
films has extended to the
architecture and design
classes, with architecture
department now making a
progressive film of the con- ,
struction of a new school ||
building which is being built
on the Technical School >
property. This film, taking
up the various points in the
building construction step
by step, is expected to lend
invaluable aid to the theo-
retical architecture classes
by furnishing the demon-
stration of practical appli-
cation of the theory learned
in the class, a thing not
otherwise possible. The
class will, in effect, “build
the building” itself, seeing ;
how each point learned in |
architecture is applied by'*
practical builders.

HOME MOVIES FOR FEBRUARY

PAGE 89

-i

ill

,ii

,,j

}■

Will, tL REEL FELLOWS

FRIENDLY FRATERNITY

OF MOVIE AMATEURS

]\o. 1 Reel Fellow

Familiar to many readers is the fact that a suggestion
from Irwin Sipherd, then president of the Pittsburgh
Amateur Cinema Club, motivated the national organiza-
tion of Reel Fellows. His suggestion that an emblem be

designed that could
be worn by movie
amateurs to iden-
tify them as such
wherever they
might roam, struck
a responsive note
among the cine-
bugs everywhere.
The idea dovetailed
with a similar plan
of Home Movies’
publishers to es-
tablish a national
organization of
movie amateurs. The friendly fraternity of Reel Fellows
resulted. Today there are well over a thousand Reel Fel-
low emblems gracing the lapels of its members. An equal
number of Reel Fellow insignias are mounted on the cam-
eras of these members.

• Sipherd gets first Reel Fellows emblem.

For ROCK-STEADY

MOVIES

Royal Tripod

With PAN and TILT TOP

With strength to give non-quiver-
ing support to heaviest movie cam-
eras, the Royal Tripod is one way
of assuring fine, clear jiggle-free
movies. The legs of this quality
tripod are instantly adjustable
by means of a "Quick-Lock"
friction control. Automatic leg
stops keep legs from sliding out
too far. Rubber tips for floor pro-
tection. Chromium finish. Opens
to 56", closes to 30". Tripod $7.50.
Top, $6.50. Both, only $12.50.

Royal Deluxe— Albert's new light-
weight aluminum automatic leg-
locking tripod with new pan and

ASK YOUR DEALER TO SHOW
YOU THESE MODERN TRIPODS

As a token of recognition for Sipherd’s suggestion, he
was made the first member of the organization — -the
Number One Reel Fellow, The photo shows the first Reel
Fellow emblem being pinned upon Irwin Sipherd by Mr.
McClain, a director of the Pittsburgh Amateur Cinema
Club. Sipherd has since been transferred to New York by
his employer, where he continues his cinematic activities
as a member of the Valley Stream Camera Club.

First Feminine Reel Fellow

Mrs. Mildred Caldwell, newly elected president of the
Long Beach Cinema Club, enjoys the distinction of being
the first woman to join
the Reel Fellows. In
fact she was up among
the first three or four
members to join im-
mediately after the or-
ganization was an-
nounced.

Having completed
editing and titling her
most recent 8mm pro-
duction, “Happy Land-
ing”— some 400 feet
in 8mm Kodachrome
Mrs. Caldwell set out
for new fields to con-
quer with her 8mm
camera and at this
writing, is on the high
seas bound for Hono-
lulu. While there she
will screen for members of several of Hawaii’s cine clubs
the outstanding pictures produced by her club during 1940
and, of course, her own Movie of the Month — “Happy
Landing.”

Designing Leader

Reel Fellow Clarence N. Aldrich of the Long Beach

L._..

Mildred Caldwell

SPECIALTY CO.

NEW YORK • CHICAGO • lOS ANGUES
Moin Offi<e and Factory: 231 S. Green Street, Chicago

Ample Light

for Filming . . .

This inexpensive VICTOR Twin Stand
Unit gives No. 1 Photoflood lamps the
support needed to secure effective illumi-
nation for indoor movie making. Like all
other VICTOR Lighting Units, this Twin
is engineered for highest efficiency, is
well packaged at the factory and provides
many years of service.

VICTOR No. 520 .. . $4.95

Has two 9-inch reflectors, spun from sub-
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vates to 6 1/2 feet. Write for descriptive
literature, or see this unit . . .

at roar Camera Stare

James H. Smith & Sons Corp.

21 0 Lake street Griffith, Indiana

MOVIE EDITING NOW
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EDITING RACK

Makes Movie Edilins; a Vlensurel

You have your titler and your splicer — now get a
Mara-Movie Editing Rack and your outfit will be
complete! The Mara-Movie provides the "missing
link" in movie editing equipment and turns the
work into a pleasure. Mara-Movie Editing Racks
are substantially constructed, IT'/axIl inches in
size with 40, 2x2-inch numbered sections for 8
or 16mm coils. Each rack has a collapsible easel
and snug fitting cover for dust protection. Iri-
eluded with every outfit are 100 printed conti-
nuity slips and simplified directions for using the
outfit and editing movies. Order your Mara-
Movie Editing Rack today — get your films in
shape to show as you want them. Order one or
two extra racks tor storing miscellaneous scenes
for future use.

MARA-MOVIE EDITING RACKS
$1.75 each, postpaid
Ttco for $3.25 . . . Three for $4.75

MARATHON PHOTO SUPPLY CO.

BOX 415-C WAUSAU, WISCONSIN

PAGE 90

HOME MOVIES FOR FEBRUARY

TRY IT

TONIGHT/

YOU'LL
BUY IT

TOMORROW!

Write for yow*' FREE Wide-Angle
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comparing and proving in your home,
office or auditorium that BRITELITE-
TRUVISION WIDE ANGLE SCREENS
are best for black-and-white and
color movies and slides,

BRITELITE WIDE ANGtE SCREENS ara in

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MOTION PICTURE SCREEN
and ACCESSORIES CO., INC,

351 West 52nd St„ New Tork City j

HEW ULTRA HIGH SPEED
SOLAR MOVIE FILM

Weston 150, Daylight Mazda 110.

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YOU EVEN PAY LESS for standard speed SOLAB
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Weston 16mm 16mm 8mm
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Solar ECONOMY Outdoor.. 8 $2.50 $1.75

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Solar HI-8PEED 24 5.50 3.25 2.00

Prices include 24 hour processing at SOLAR labora-
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400 dealers in 201 towns and cities. If your dealer
hasn’t SOLAR film, ask him to get it for you, or
order direct from this ad.

SOLAR CINE’ PRODUCTS, INC.

3827 Archer Ave. Dept. I -A Chicago. III.

DEVELOP YOUR OWN FILMS

WITH A FLEXON OUTFIT

A NEW AND COM-
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AMATEUR AND
PROFESSIONAL
2 heavy gauge steel
^anks — bakellte finish;
with Special hard rub-
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forming a flexible coil
for assembling, proc-
essing and drying.
Film is completely in-
closed and entirely
iminerseil in solutions — retaining constant, even tem-
peratures. Washing system, with hose connections for
any faucet, insures a cleaner film. Pat. pending.

Made in 25, 50, |00 ft. sizes for 8 and 16mm film.

Drying rack extra. Write today for full details.

FLEXON CO.

1910 BELMONT AVE.
CHICAGO. ILLINOIS

BUT NOT TO KILL!

WESCO HOME MOVIE SCENARIOS

Choice selection of plots. Fun for oil. Send for complete
synopsis circular FREEl See your deoler or write to Dept. H

WESnRN MOVIE SUPPLY CO. • 254 Sutter St., Sun Francisco

Cinema Club, winner of the
1940 Home Movies award
for achievement in titling,
has been commissioned to
design and execute an ani-
mated leader for the Reel
Fellows. Duplicate prints of
this leader will be made
available to all Reel Fellows
at a nominal charge as an
additional service of the or-
ganization.

Another Iliiiidrccl-
Per-Center!

Six lively, enthusiastic
movie amateurs comprise
the roster of the newest
100% Reel Fellows Club —
the Brass City Chapter of

mailed

• Continued from Page 70

effect on the screen, then
changes the arrangement to
produce a more interesting
effect. He is not afraid to go
out and shoot a half a dozen
closeups for his film which
others would consider fin-
ished. These closeups he
splices in at places where
they will clear up an other-
wise obscure bit of action.
He uses running gags as
well as other types of com-
edy sequences which are
well within the range of the
average filmer.

He is careful in editing
his travel films. He places
the scenes containing the
best photography and cam-
era technique towards the
end of the reel. He is care-
ful to see that no sequences
are too long and that each
is no longer than its rela-
tive importance to the film.
Above all, he leaves no
places unidentified. His film
is always tied together and
unified. He doesn’t use cam-
era tricks just to show his
friends that he has mas-
tered the technique of per-
forming them.

His newsreel shots are al-
ways interesting, because
he thinks them out before
he shoots. He doesn’t shoot
every scene from the same
location, nor from the same
angle. He uses lots of reac-
tion scenes, as well as nu-
merous closeups. In keeping
with standard newsreel
technique, his shots are all
relatively short, and each

The Reel Fellows, of Water-
bury, Connecticut More, of
course, are awaiting ap-
proval of their qualifica-
tions to join. By-laws of this
particular club were so
formed, according to Secre-
tary Luke Czarny, as to
eliminate from its member-
ship any “flash-in-the-pan”
members.

A probationary period of
membership takes care of
this. If an applicant passes
this period successfully, he
not only becomes a member
of the club but a full-fledged
Reel Fellow as well. Present
membership consists of Pat
Ciampi, Paul Kauneckis,
Francis Grasso, Joseph Vi-

icture .

one contains action. In all,
the entire reel runs smooth-
ly, easily, merely because he
visualized the reel as it
would appear in its finished
form.

His scenarios and photo-
plays are just as interest-
ing. He does much of his
editing before he starts
shooting — for two primary
reasons : first, he gets a bet-
ter final result, and, second,
he has found from experi-
ence that working from a
script is the easiest way to
make the story type of
movie.

There isn’t an amateur
who embarks upon his first
editing adventure who
wields the shears or cuts as
deep into a scene as he
should. Aside from the bad
spots in the film, there are
invariably scenes that can
stand a little more trim-
ming ^ — ^some can be elimi-

Reviewed films will be roted
one, two, three, and four stars,
and films qualifying for two or
more stars will receive, free, on
animated leoder indicative of such
award. Detailed reviews, with sug-
gestions for improvement — if any
— will be mailed to amateurs sub-
mitting their films.

Exceptional films qualifying for

tukis, Clifford Homm, and
Luke Czarny.

All are 8mm fans and have
been shooting movies for a
period of three years or
more.

This is the spot where you'll
find each month news of cur-
rent happenings and achieve-
ments among the Reel Fellows.
Keep posted on what other
Reel Fellows are doing by
reading this department in
each issue. If you're a Reel
Fellow, keep us posted on any
news of interest concerning the
filming and exhibition of your
pictures. Secretaries of Reel
Fellows Clubs are invited to
report on the doings of their
clubs each month for publica-
tion in this department.

nated entirely. “Padding”
should be avoided — dupli-
cating shots further along
in the film by inserting foot-
age trimmed elsewhere.

As this is written, we can-
not but recall our own em-
bryonic cinefilming efforts
and how we used to keep
every precious frame of
film — even those with the
serial number performa-
tions at the end of the roll !
So you see, we really under-
stand and sympathize with
the beginner, for we have
traveled along the same
road, met and surmounted
the same perplexities.

As the amateur makes
more and more pictures —
as he studies filming and
editing technique — he will
come to realize that what
really makes a good movie
is editing, and not the
amount of footage it con-
tains.

fhe distinction of the "Movie of
the Month" will be treated in de-
tail in o feature length article in
o following issue of HOME MOV-
IES. In addition, a certificate evi-
dencing the award of "Movie of
the Month" ond o special ani-
mated "Movie of the Month"
leader will be returned with such
films after review.

When submitting films for re-
view and analysis, please advise
moke of camera, speed of lens,
whether or not tripod was used,
or if you used filters, exposure
meter, or other accessories. While
this information is not essential
to obtain analysis of your film,
we would like to pass it on for
the benefit of other amateurs.

HOME MOVIES FOR FEBRUARY

PAGE 91

REGAL

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Also available In Pure White MATTE SUR-
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for Kodachrome projection.

Write for Prices and Literature

Mimosa American Corp.

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The Reader

Presenting

A MOVIE A MONTH

For 8 and 16mm Fans

A new plan entitling members to an
extremely low cost viewing service.
Complete Edition Castle Films

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Few Cents a Day

AND THAT'S NOT ALL

You receive one headline edition
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IT'S A GREAT SERVICE

Write ISoto for Further Details

Movie a Month Association
Box 524 Reynoldsville, Pa.

The Service That Saves

YOU VE BEEN WAITING
FOR IT

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Here it is/ If REE/

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Rating of 50
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Write for price list of all types and grades
of film. Processing chemicals for Home use.

KENWOOD FILMS

1231 E. 46th St. Chicago, III.

About Film Slitter

This reader’s experiment
may he of assistance to those
amateurs who tvere inter-
ested in the film slitter plan
which appeared in the De-
cember issue:

Gentlemen: In “The Ex-
perimental Cine Workshop”
department of the Decem-
ber issue Mr. Edwin D. Mil-
ler described a film slitter
which he had made with
small blocks and a razor
blade. I had the same idea
a few months ago and made
one such slitter which I have
since discarded.

When slitting film with
this type of slitter, I find
the razor blade forces the
edge of the film down into
the cutting groove, causing
edge of the film to curl. I
used this slitter on the film
on which I made my titles.
When my pictures were in
focus, the title would go in
and out of focus because of
the curled edge of the film.
Now I use nothing but pre-
scored film which easily sep-
arates without a slitter. In-
cidentally, the best slitter I
have found is that made by
Baia. It shears rather than
slits the film. There is no
curl.

— ?!arold S. Goodell.

Reducer

Here’s a discovery that
shoidd interest amateurs
who process their oivn films:

Gentlemen : After search-
ing for some time for a re-
ducer that could be used on
film wound upon an open
reel and w'hich would not
cause streaks, I have found
what I think is the ideal for-
mula. The reducer is made
as follows: Potassium per-
manganate, 30 grains; wa-
ter (at 60°), 1 quart.

After subjecting film to
reducer for required period
of time, it should be cleared
in bisulphite clearing bath,
given the usual hypo fixing
bath, and then washed in
clear water.

I know that permanga-
nate is a standard reducer,
but all the books I’ve read

SPEAKS

advise using sulphuric acid
with it. I found this made
the reducer work entirely
too fast. Without addition
of the sulphuric acid the re-
ducer works slower and
there is more opportunity to
control its action. Also,
there is no tendency to dis-
color the film.

— George Burnn-ood.

Sport Glasses

Amateurs interested in a
source of inex])ensive binoc-
ulars for use in building
home-made telephotos will
find this reader’s letter of
interest :

Dear Sirs: I am one of
the many amateurs who
have discovered something
useful that should be passed
along to others. Frequently
in the pages of Home Mov-
ies have appeared items de-
scribing the use of inexpen-
sive sport binoculars for
converting one’s camera
lens into a telephoto. How-
ever, I had difficulty in lo-
cating these binoculars. Fi-
nally I heard of a source —
Radio Wire & Television
Co., Inc., 901 West Jackson
St., Chicago — and got just
what I wanted from them.

In case there are others
who would like to obtain the
type of binocular adapted
for telephoto use, one should
ask for the binocular listed
in catalog of the above com-
pany under No. PH-10005.

These glasses fit right on
to my Keystone 8mm lens,
and have proven very suc-
cessful. Magnification is
about two times.

— Farrell liro’wcr.

Wants Turret Data

If there is an amateur who
has constructed the type of
turret described in the fol-
loxving letter, Home Movies
editors shall be pleased to
learn of it:

Gentlemen : I hope soon
to see in Home Movies a de-
tailed description of a re-
movable turret for Bell &
Howell 8mm cameras that
will accommodate two reg-
ular B. & H. lenses of the
snap-on type. The one de-

15 MM /n 7
FOCUS I A*/

IN FOCUSING MOUNT

.OU’YE
LONGED FOR

'^ailTICAl FOCUSING
'A WIDE ANGIE OF VIEW
'A’FOE 16 MM CAMERAS
'A’^OIOR— MACK AND WHITE

HE Wollensak 1 5 mm focus
wide angle movie lens gives
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angle of view for confined space
shots, interior shots, panoraming.
F2.7 speed, correction for good
color and black-and-white mov-
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16 mm cameras, including tur-
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too. Have one this winter.

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PAGE 92

HOME MOVIES FOR FEBRUARY

USED
CAMERAS

and

PROJECTORS

Cine Kodak Model B, FI. 9

Lens, Case $ 35.00

Cine Kodak Model B, F3.5

Lens 20.00

Filmo 75, F3.5 Lens,

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^ Cine Kodak Model E, F3.5

r Lens 22.50

Filmo 70 D, FI .9 Lens,

Case 95.00

Filmo Super Speed,

FI. 9 Dallmeyer.... 100.00
Cine Kodak Magazine,

FI. 9 K. A 75.00

Bolex (16mm),

FI. 9 Dallmeyer.... 135.00
Zeiss Kinamo (16mm),

F2.7 Tessar 17.50

Filmo Straight 8,

F3.5 Lens 20.00

Univex C8, F2.7

Univor 1 5.00

Kinamo (35mm), F3.5
Tessar, 12 cm. F4.5 Tes-
sar 75.00

Kodascope G, 500-watt,

Case 90.00

Bolex G 16, 750-watt,

Case 100.00

Keystone L8, 500-watt,

Case 30.00

Kodascope 40 (8mm),
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Univex P500

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This Superb Bargain

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Specify White or Black Letters
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scribed a few months ago
was fine for anyone using
Wollensak lenses which
have screw mounts.

Would also like to see de-
tailed plans of a wind-back
and frame counter for this
same camera.

— Russell E. Kc'im.

Wants KadacDlDr

Here is an oppo7^tunity
for some amateur to do a
good turn for a brother
cinebug. Have yo7i some of
the old “Kodacolor” film —
Eastman’s first color film?
Possibly you caii fill this
request:

Gentlemen ; For some time
I have endeavored to obtain,
for projection purposes, a
small piece — one or two
frames would be ample — of
exposed Kodacolor film and

thought perhaps one of
Home Movies’ readers
might be able to supply it.

I realize this film is now
obsolete, but I assume there
must be a few amateurs in
the land who have some of
this film in their personal
film libraries and who might
possibly spare a few frames.

In connection with the ex-
pense involved, I also real-
ize it is difficult to place a
price on a small piece of
film ; but any expense in-
volved I will promptly re-
mit to cover same.

— Robert A. Reed,

511 21st St., North,
Lethbridge, Alberta,
Canada.

Pays To Advertise!

Here’s a letter thanking
many readers for response
to a “swappei’’s” request:

Gentlemen ; A few months
ago I requested through the
“Swappers” column of
Home Movies, my desire to
communicate with amateurs
on the mainland who could
film some special scenes for
me. Since then I have liter-
ally been swamped with let-
ters.

In some instances I re-
ceived as many as fifteen
letters from one city alone,
offering to assist me. Of
course, I couldn’t possibly
have used all the offers ten-
dered, but I sent a card of
thanks to each correspond-
ent nevertheless.

I want to thank Home
Movies for its splendid co-
operation !

— James Y. D. Kim,

W ahianxia, Oahu, T. H.

^yifjudic It atli charms w.

oi/ied

9 Continued from Page 63

action unfolds. Some of
them will be definite and
suggest immediately the
type of music they re-
quire. The scene of the chil-
dren frolicking with the
family pooch will demand
light, happy melody. The se-
quence shot through the
windshield of the car during
the Sunday drive calls for
rolling music with lots of
speed. Some shots, however,
don’t have a definite charac-
ter, so the music we choose
for them will be neutral. It
must always complement
the screen action.

On a second run-through
of the film, we jot down the
various mood divisions and
a rough timing of each one.
A stop-watch or wrist-
watch with a good second
hand will aid in timing each
division. As we list the
units, we let our imagina-
tion run free. We get the
“feel” of the picture . . .
think of any numbers we
have heard that might fit.
We imagine ourself direct-
ing a great symphony and
how we would want them to
play during each particular
scene.

With the picture clearly
in mind, the scenes listed
and timeff,-we can start to
look for recordings that will
match our needs. A friend
well versed in symphonic
lore can be of great help, or
the record department of

one’s local music house will
gladly lend a hand. A tip
though: you’ll get undivid-
ed attention and the best of
a well versed musical clerk’s
knowledge if you call any
time except during the
“rush” hour. Of course, if
you can approach the clerk
with some idea of the rec-
ords you want, your task
and that of the clerk’s will
be easier.

As a preliminary aid,
there are listed here a num-
ber of recommended selec-
tions that will provide
pleasing musical accom-
paniment for the average
home movie film. These, as
well as any other numbers
selected, should be played
through to determine if
they contain enough music
of the correct mood to sup-
IDly the needs of the scene
or the whole film, as the
case may be, for which it
is intended. It’s mighty
disconcerting to select a
charming pastorale to back-
ground a garden sequence,
and then to find that the
orchestra crashes through
with a surprise right in the
middle of a flower closeup!

Have your music store
play these numbers for you,
then take home those rec-
ords which contain the kind
and quality of music re-
quired for your films. The
selections are grouped ac-
cording to the type of scenes

for which they are best
suited :

MAIN TITLES

“Knightsbridge” (Coates’ “Lon-
don Again” Suite) — ^*Col.
69399.

“Scheherazade” (1st Movement)
—Col. 11170.

“Knightsbridge” is good,
bright melody, suitable for
almost any type of film,
while the portion of “Sche-
herazade” indicated is best
for a serious picture.

LANDSCAPES

“Morning” ( Grieg’s “Peer Gynt” )
—Col. 68474.

“6th Symphony” (Beethoven) —
Col. 11185, 11189.
“Scheherazade” (3rd Movement)
—Col. 11170.

“By the Tamarisk” (Coates) —
Col. 69264.

“Clouds” (Debussy) — Col. 69319,
69320.

“Langham Place” (Coates) — Col.
69263.

“Nutcracker Suite” (Tschaikow-
sky)— Col. Set M-395.

Many are familiar with
Grieg’s “Morning,” which
is appropriate for scenes of
sunrises, flowers and the
like. Beethoven’s 6th con-
tains several passages to
suit varied scenes, and the
3rd movement of “Sche-
herazade” goes well as rich
outdoor background. “Tam-
arisk” is wonderful — an-
other reason I’m partial to
Coates. His “Langham
Place” is slower, more state-

*Indicates make of phonograph rec-
ord— “Col.” is Columbia and" Vic.”
is R.C.A. Victor. Numerals are
catalog numbers of each selection.

' HOME MOVIES FOR FEBRUARY

ly and conjures up visions
of dignified churches, li-
braries and castles. Debus-
sy’s “Clouds” is a lazy pas-
torale, very dreamy. The
“Nutcracker Suite” offers a
I little bit of everything. It’s
colorful — ideal for foreign
I scenes with the “Danse
Arabe” and “Danse Chi-
nois” to mention but a pair.

I WATER SCENES

I “Blue Danube” (Strauss) — -Col.
I 69275.

“Waltz of Flowers” (Tschaikow-
I skv)— Col. 69803-69804.

I “Pale Moon”— Vic. 24282.

1 Probably the “Waltz of
the Flowers” appears a mis-
take under this heading, but
listen to it and see if it
doesn’t suggest a lily pond
or rippling brook. I once
used the “Blue Danube” on
a stream fishing sequence —
it was perfect, with just
enough action indicated.
“Pale Moon” is better for
still water scenes, canoes
and dusk-on-the-water ef-
fects. This number is for
the Jesse Crawford version
on the organ. The older
pressing by the Victor
Salon Orchestra is even
more suitable.

GAY SCENES

“Fetes” (Debussy) — ^Col. 69321,
69322.

“Mayfair” (Coates) — Col. 69264.
Strauss — All waltzes.

There’s a light-hearted-
ness to both “Mayfair” and
“Fetes” (which one can
anglicize to “Festivals”)
that makes them ideal for
movies of children, picnics,
hikes and parties. As for
Strauss’ music — it’s full,
rich, swingy and generally
tops for any home movies.
Might jot down his “Tales
From the Vienna Woods”
as ideal landscape music,
too.

AUTO OR TRAVEL SCENES
“Oxford Street” (Coates) — Col.
69263.

Haven’t you often longed
for music to fit the mood of
a happy, carefree, rolling
auto ride? Well, “Oxford
Street” is it — written to
order !

SUNSET SCENES
“Pale Moon” — Vic. 24282.

“Clair de Lune” (Debussy) — Col.
7361.

We’re repeating “Pale
Moon” in the sunset divi-
sion, you see. The listed rec-
ord of “Clair de Lune” is by
Kostelanetz — his full voiced
orchestration is much su-
i perior to the original.

: END TITLE

“Blue Danube” (Strauss) — Col.
69275.

Using the “wax pencil
technique” to be described

PAGE 93

later, you’ll be able to pick
out the closing bars of this
number, to bring your pic-
ture to a fitting climax.

GENERAL DESCRIPTIVE
“The Seasons” (Glazounov) —

Col. 67850, 67851.

This suite will answer
your prayers for good music
to fit those snow scenes. Of
course, it’s equally good in
the summer, spring and fall
movements, too.

After the music has been
chosen, we next prepare the
mechanical arrangements
that will enable playing the
records simultaneously with
the screening of our pic-
tures. Preferred, of course,
is the double turntable — the
“twin” phonograph with
two turntables and provid-
ing means for “fading” one
record into another. But if
only a single turntable is
available such as the aver-
age electric record player or
radio-phonograph, we can
manage very nicely. With
the latter, there must nec-
essarily be a brief pause
each time the records are
changed.

First we select the best
portion of each record. That
may require starting the
needle some distance inside
the disc, and in order to as-
sure perfect cueing we’ll
borrow a trick from the
radio sound-effects men.
Once the exact starting
point on the record has been
determined, take a soft col-
ored wax pencil or crayon
and rub it over several
grooves just in front of the
needle. 'Then back the rec-
ord, so the needle cuts a
single line through the wax
in the crucial groove. Later
when you are ready for that
particular bit of melody,
just set the needle in the
p re-marked groove, start

the record and fade in as
soon as it comes up to full
speed.

In showing the picture
with music, you’ll discover
that a slow, easy fade out
of one record into the next
(provided it coincides with
mood changes) will never
be noticed. In fact, that’s
far preferable to permit-
ting one record to end and
then starting the next, with-
out any regard to the emo-
tional continuity of the
film.

It’s quite a simple matter,
too, to hook a small micro-
phone into the loudspeaker
circuit, and by using it the
narration may be coupled
with the musical back-
ground. If the narration
comes during a record
change, the fade in and out
will appear perfectly natu-
ral. But take the word of
a professional and write a
script of your comments.
People who trust to last-
minute inspiration are too
frequently overlooked by
providence at the vital mo-
ment.

The greatest recent boon
to movie-makers has been
the new synchrosound sys-
tem for synchronizing the
record turntable (either 78
or 33 1/3 r.p.m.) to the pro-
jector. Using it one can
make a master transcrip-
tion of both music and nar-
ration following these sug-
gestions, and eliminate the
bother of juggling records
each time the picture is
shown.

Remember, the key to suc-
cess is the care shown in
planning the music. If we
do that well — whetre our
equipment is complex or ele-
mentary— we’ll be in line
for compliments after every
home movie performance.

^owa 5cLoo(a found a way. . . .

• Continued from Page 79

other person has used the
machine. As a result, each
showing goes off smoothly,
and the repair costs, except
for bulbs, have been negli-
gible.

To make the visual pro-
gram run smoothly and
bring maximum results,
much time and thought
must be given to it. The
schedule of films is selected
at one time for a whole
semester. Selection is made

by a committee of teach-
ers representing all grades.
With a thought of the sub-
jects to be taken up during
the semester, the films are
chosen from descriptions in
film catalogues.

One week before the films
are to be shown, a mimeo-
graphed announcement is
sent to each school describ-
ing each film. Also, when
available, the teacher is sent
a pamphlet concerning the

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PAGE 94

HOME MOVIES FOR FEBRUARY

MR. 16mm

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SPECIAL EFFECTS • ART TITLES

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film which she studies and
reads to the students so that
they are ready for the fiim
when it is presented.

From the time the oper-
ator receives the fiim untii
he returns it to the county
office, he is responsibie for
it. He takes fiim, projector
and screen with him to each
school and sets up his equip-
ment according to schedule
issued by the school super-
intendent. Although shows
vary in length, plans are
made to spend a half day at
each school. Thus the films
are shown on an average of
twice a day for two weeks.

The cost of a half day’s
showing is most surprising.
The mileage is prorated
among all the schools and
last year the average was
only 53 cents per day. Some
films are rented while
others are obtained for their
transportation charges only
and the film expense, also
prorated, averaged only 60

cents per showing. Thus for
$1.13 the school had a half
day’s showing of films, both
sound and silent.

Has the system been suc-
cessful? The plan hadn’t
been in operation very long
before the rural schools in
the county heard of this
film circuit now being em-
ployed in the town and con-
solidated schools and said
they wanted in on it as
well. Superintendent Nich-
olson explained to them that
they would have to buy a
projector the same as the
larger schools, and that
since the rural schools were
smaller the expenses would
be higher per pupil.

That didn’t stop the rural
schools. They could see the
results in the larger schools
and were determined noth-
ing would stop them from
having a similar program.
Since there are 26 rural
schools, their share in the
projector was much smaller.
They inaugurated the sys-
tem just a year ago, in Jan-

uary, 1940. Like the town
and consolidated schools j
they have their own oper-
ator and their own set of .
films. The only difference is ■
that they use fewer reels of ,
film, and since the schools
are closer together, four .
showings can be made in a |
day, two in the morning j
and two in the afternoon, j
Also, transportation cost is j
smaller. During the first |
year it amounted to 32 cents •
per school per showing, and i
the film cost came to 45 |
cents. Thus for 77 cents the i
rural schools had showings
which averaged about an
hour every two weeks. 1

The superintendents and '■
teachers are enthusiastic i
about the system. It is ex- j
cellent for such small cost, j
The parents often get to see 1
the films during P.-T.A. j
meetings and in this way j
can see for themselves the
kind of instruction their
students are getting, thanks
to visual-minded Mr. Nich-
olson.

• Continued from Page 72

this scene with the title cut
in before the subject begins
to speak. Improperly timed,
the title appears on the
screen, before there is any
indication that the subject
is about to speak.

Where the action is of
quick tempo, a slightly dif-
ferent procedure may be
followed in the cutting to
heighten interest. Instead of
cutting back to the same
scene, following insertion
of an exclamatory title such
as the one just described,
cut direct to a closeup of the
subject spoken to in order
to show quickly the second
character’s reaction.

Let us take the same scene.
The man is stealthily enter-
ing the heroine’s boudoir.
She hears a sound . . . sits
up with a start . . . speaks
. . . (the title is cut in
here) . . . then a quick cut
to a closeup of the man as
he hears the heroine’s
words. Quickly he closes the
door . . . flips a revolver
from his_pocket, and look-
ing menacingly toward the
heroine, speaks: “Shut up!
Let’s have that paper!”
Here again, we flash direct-
ly back to frightened hero-
ine ... at man’s demand for

dame ad

the paper, she moves quick-
ly from her bed toward the
overnight bag on a nearby
chair.

By eliminating the CLit-
back to remaining portion
of scene into which title is
cut each time, the pace is
quickened to the tempo re-
quired of action of this kind.
Should we follow the proce-
dure of cutting directly back
to the scene, there would be
a noticeable slowing down
of tempo. Reference to illus-
trations at beginning of this
article will further empha-
size this point.

Often just such a change
in editing spoken titles is
all a home movie needs to
make it stand out. Another
thing to remember is never
cut a spoken title into a long
shot. Better to make a close-
up of the character who is
to speak the title and then
cut the title into this scene
at the proper point as al-
ready illustrated.

Staffs engaged in cine club
productions may find it ex-
pedient to follow the titling
plan established by produc-
ers of early day silent
movies. In those days, just
as much time and thought
went into framing the titles

as planning the action and |i
when the scenario was com- ji
pleted, all action centered
around the titles as they ap- jl
peared in the script. If the ji
director chose to deviate ||
from the action laid down |i
in the script, he still had to ji
consider the title around |
which the action was orig- j
inally built.

l^hen the story was com- !i
pletely filmed, it was put to- ,1
gether in the cutting room !i
with a set of temporary j;
titles made up from those
written in the script. Then ,j|
the picture was projected li
before the director and I;
staff, notes made for bene- ||
fit of the editor, and certain il

TO OUR READERS

We will appreciate calling our
attention to any misleading claim
made by any advertiser in HOME
MOVIES whose product or service
proves unsatisfactory.

Should an article prove other
than advertised, or if a service is
nof prompt, immediate notifica-
tion will enable us to enforce upon
the advertiser necessity of adjust-
ing his product or service to the
maximum high standard of quality
required by this publication of its
advertisers.

! HOME MOVIES FOR FEBRUARY

PAGE 95

I titles rewritten. The picture
returned to cutting room
i and here, with the director’s
j notes before him, the cutter
went to work editing what
i was called the “first cut” of
' the production with certain
j titles deleted or rewritten,
and new titles added.

Then the production was
previewed in some neigh-
I borhood theatre, notes made
I of the audience’s re-action,

' and the film taken back to
the studio for additional
grooming. Frequently the
original titles — written by
I one high priced professional
title writer — would be dis-
carded entirely and the pro-
duction turned over to an-
other for an entirely new
set of titles.

In those days, good title
writers were much sought
after as top notch directors
are today. One title writer
would be “hot” for awhile,
following the success of one
picture, then he would go
into eclipse to be followed
by another credited with the
success of the hit picture
currently showing at that
time.

Toward the close of the
silent picture era, wise-
cracking title writers were
much in demand. Promises
of fabulous salaries were
waved before the country’s
leading newspaper humor-
ists, tempting them to Hol-
: lywood and a career as cap-

tioneers for the movies.
Many came, but oddly
enough, few had the proper
slant for title writing in
spite of their success as
newspaper writers.

One of the nation’s lead-
ing humorists failed when
brought to Hollywood to
write witty titles. Actually,
he could have succeeded had
he been allowed to write ti-
tles as they should have
j been written. But the pro-
ducer, sold on the writer’s
style as it appeared in the
newspaper he read at the
breakfast table each morn-
I ing, expected the same
style to click when trans-
ferred to the screen. Actu-
:! ally the humorist’s titles
j were so sparkling, audi-
ences enjoyed reading them
’I more than watching the pic-
I ture. In short, the titles
.1 overshadowed the action.

As already stated, any
1 amateur is capable of writ-
ing and editing-in titles for
' his movies. Titles are to

your pictures what the me-
dium of sound is to theatri-
cal pictures today. Someone
has said that the perfect
silent motion picture is that
without any titles save the
main title. This, of course,
is a fallacy. The author of
this phrase undoubtedly
meant that a movie capable
of telling its story without
explanatory titles would be
a rare and interesting docu-
ment.

Some amateurs have been
misled by the statement.

and have therefore, persist-
ed in finishing their pic-
tures with a main and end
title, and few, if any, ex-
planatory titles. If the “per-
fect picture” axiom were
true, Hollywood producers
surely would have followed
it in the silent picture days.
Yes, even newspaper artists
would eliminate captions in
their comic strips. The truth
of the matter is, captions
and titles are necessary to
tie a picture together and
amplify its plot and action.

our movie cLederveS u name*

• Continued from Page 74

larging upon the ideas are
without limit. In order to
produce a good title, it is
well to analyze the unknown
quantity first. What effect
do you want to create upon
the screen? Must it be sen-
sational or conservative? Do
you want to liven up a party
of mixed company which is
otherwise moving too slow-
ly, or do you want to sup-
press the activity of a crowd
too jubilant? Main titles in
professional productions
serve the purpose of fixing
our mood, preparing us for
the style of action to come.
A clever amateur can do the
same if his picture material
is of the style to carry out
the idea. Slow fades and dis-
solves quiet us and enable
us to relax, adjusting us to
the tempo of the picture
while zig-zag flashes and
quick dynamic bursts of let-
ters thrown in front of us
excite the nervous impulses
so that we sit on the edge
of the chair unable to relax.

By the same logic, it is
apparent that unless the ac-
tion of the picture justifies
a title with tempo, it should
not be used. You can see
how disastrous it would be
to use a fast moving title
with slow tempo in the
scenes, or vice versa. A pa-
rade marching fast requires
a snappy short title, while a
canoe drifting slowly needs
a slow, lazy title with a very
slow fade. A well made pic-
ture does not interrupt the
tempo from scene to title
until the time where such
an effect is actually desir-
able. The newsreels are our
best examples of tempo styl-
ing. Study them for this ef-
fect and you can apply many

of the ideas to your per-
sonal films. A slow moving
main title would prepare the
audience for a slow moving
action throughout the film.
This portion of the study of
title technique is seldom
considered, yet it is very
important to regulate the
psychological reception of
effects we want to create.

We pass on to our second
classification — the caption
or sub-title. We are not so
familiar in these days of
sound movies, with the sub-
title as far as professional
entertainment is concerned.
We are compelled more or
less to make use of sub-titles
with amateur movies be-
cause of the need of descrip-
tive explanation. Here again
the title should be matched
to the mood of the picture,
serve its purpose efficiently
and then disappear. No mat-
ter how elaborate the main
title is, there is no need
for the style to continue
throughout the picture.

It is better to use a sim-
ple border or general back-
ground with the letters most
prominent part of the view.
This facilitates reading and
prevents the distraction of
attention to the design. If
the main title is not too or-
nate, it can be copied for
each sub-title, but should be
simple enough that the at-
tention is drawn to that por-
tion where the lettering ap-
pears. After a few titles of
the same style have ap-
peared, the mental reaction
is to select that area carry-
ing the letters only, seeing
the border or background in
a vague general manner.

. ■ More of

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PAGE 96

HOME MOVIES FOR FEBRUARY

BURKE & JAMES, Lnc.

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ART SLIDE CO., Sippo Lake H3, Canton, O.

MAK^ YOUR OWN TITLERf

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HOLLYWOOD MOVIE SUPPLY COMPANY
.NORTH HOLLYWOOD • CALIFORNIA

Simple designs are gener-
ally preferred and can be
more easily read because of
the lack of decoration.

There is another form of
title which hardly deserves
to be called the third classi-
fication and yet it stands
somewhat alone for pur-
poses of study. It is the
spoken title. The spoken ti-
tle, which is used to quote
the exact words of a char-
acter, is spliced in the film
at the point where the lips
start to move and runs for
the length of the time re-
quired to speak the text of
the title. That portion of the
picture where the character
says the words of the title
are removed from the film,
except for a few frames
where the lips start to move
in speech and for a few
frames in which the speech
is ended. A spoken title
should always be brief and
confined to one sentence, if
possible.

While we have covered
the main classifications of
titles as to form, there are
many subdivisions of each
classification and we shall
proceed to break them down
into their finer classifica-
tions. At this point, a few
general rules should be con-
sidered. It is always advis-
able to be as brief as pos-
sible in the wording of the
title regardless of its classi-
fication. Make a few words
do the work of many. Select
those words which describe
the action sufficiently to add
to the interest of the pic-
ture, not to detract from it.
A title should not say in
words, the exact thing that
the picture tells by itself.
If the picture scene tells a
story of action by itself, the
title should be descriptive
of that action beyond the
power of the picture.

Film titles should always
be composed of the very
best English, the only ex-
ception being in the case of
spoken dialect. To elaborate
upon this last statement, it
should be stated that the
best English is that which
is simple, clear and, of
course, correct. The gen-
eral rules of good rhetoric
should be employed at all
times, being careful and
mindful that we are creat-
ing a story just as the
author produces for publi-
cation his manuscript and
reaches the greater number
of intelligent people by pre-

senting his story in the lan-
guage which he knows is al-
ways acceptable. Flowery,
superfluous words can often
be replaced with simpler
ones which not alone sim-
plifies the reading of the
title and presents its mean-
ing more quickly, but actu-
ally saves on the film foot-
age.

A title should be carefully
planned, in fact, with a
lengthy or scenarized movie
it should be planned before
the picture is photographed.
In my research for the prep-
aration of this paper, I have
consulted several text books
and authorities on many of
the title problems and in
many there is a wide differ-
ence of opinion regarding
technical details ; but this is
one thing that all agree
upon- — a title is not some-
thing to be thrown into the
picture but should be care-
fully planned, well made,
and properly placed in the
film. It is true that most
titles are made as an after-
thought and are made after
the picture has been ex-
posed, but the best films are
those which have been wov-
en around a plot for which
the scenario has been care-
fully prepared. A picture
made according to a definite
plan will suggest its own
titles as the photographic
work advances.

By planning in advance, it
is also possible to estimate
your footage, which is an-
other important considera-
tion. Most authorities agree
that a well made film should

• Continued from Page 75

ing” the jar of cookies be-
hind a magazine rack.

Callers prove to be a
neighbor- couple dropping
in for a chat. The wives take
the sofa at one end of the
room. The visiting chap
drops nonchalantly into the
husband’s easy chair, takes
up his magazine and — just
as if he knew they were
there all the time — reaches
for the hidden jar of cookies
behind the magazine rack!
This is just one of the many
humorous touches given the
picture by this filmer.

The visitor observes some
snapshots of his host’s
kyaks — small, shallow can-

be composed of about 10%
of its length in titles as a
minimum. Any film needs at
least 10% for titles but it
should never exceed 25%
and should equal that only
in rare and unusual in-
stances. If a film requires
more than 25% titles, there
is some deficiency in the
photography. It will not be
of interest to your audience
as it will appear to be sev-
eral haphazard shots to ex-
plain the titles which is the
reverse of the desired effect.
An interesting film does not
require titles to lengthen it
or support it to that extent
where the titles become too
frequent. This portion of
our study is by necessity of
general nature and with the
suggestions and brief re-
view of basic rules, it should
be possible to create your
own titles according to good
form. It is impossible to go
much farther in this par-
ticular phase of titling, al-
though much more time
could be devoted to it. I re-
spectfully ask you to recog-
nize that I am skimming
the surface with only the
major points of considera-
tion. We can hardly go far-
ther with this any more
than we can give an entire
course of dramatic art for
our amateur acting effects.

Next month we shall con-
tinue this discussion with a
treatise on the preparation
of copy — the wording and
printing and lettering of
the title cards — and the
lighting and photography
of same.

vas boats — becomes inter-
ested, and arranges to go on
a trip with his host.

We next see the two men
down by the river prepar-
ing to launch their frail
craft. There is business of
loading supplies, etc., and
then follows another “gag.”
The host observes that his
friend’s hips are too wide to
fit the opening in the kyak.
He takes up a rule, and
measures him across the
seat of the pants to prove
he can never get into the
boat. Whereupon the chap
begins to unload from his
pant’s pockets, coils of rope,
matches, keys, and all man-

Dk eee 3~dtar fifmd

HOME MOVIES FOR FEBRUARY

PAGE 97

ner of junk until his “beam”

I has been reduced to normal
i size.

I This problem of size bobs
I up again later to plague the
i chap when, unable to free
' himself from the boat, it
j capsizes, dousing him in the
chilly water. Then as a cli-
i max, he is again unable to
remove himself from the
boat and is obliged to ride
home sitting in the kyak
lashed to a trailer and
I drawn by the host’s car !

The scenes of the men
I rowing the kyaks were
made on the Jordan river in
Utah and comprise some of
the most colorful ever to be
, captured by Kodachrome.
Had the picture been filmed
at any other time of the
I year, much of its charm
' would have been lost,
j This picture

I is a standout for photog-
raphy, an excellent job of
j Kodachrome filming. Expo-
sure is right on the nose,

; camera angles are varied
! and u n u s u a 1 1 y interesting,

, and composition leaves little
: to be desired.

Editing : This picture could
' easily be criticized for the
length of its opening se-
I quence. To a distant audi-
ence, there’s a tendency to
feel that it’s a little too long
! — that this filmer could in-
troduce the subject of kyaks
briefly and then go right
into the sequences showing

the men in action with
them. However, we realize
there is always other mo-
tives best known to the
filmer for staging an elabo-
rate opening such as pre-
vails with this picture.

Titling: In this picture is
some of the finest titling yet
seen in any amateur pro-
duction. Not only are the
titles well worded and artis-
tically hand lettered, but
their execution with the
camera is something worthy
of more than a passing re-
mark.

The main title is superim-
posed over a moving scene
of the river with trees in
colorful foliage in the back-
ground. This title disap-
pears in a flop down effect
and a series of credit titles
appear and disappear by
the same method. Subtitles
are printed by letterpress
in white on deep blue back-
grounds.

Equipment: Letter which
accompanied film states that
it was photographed with
an Eastman model K Cine
Kodak fitted with an f/1.9
lens. A tripod was used
when possible, and fades
and effects were produced
with a Fade-O-Scope.

"TARANGATOFOO" ★★★

1 50 feet 1 6mm — By H. A. D.

Continuity : River steamer
is seen approaching in the
distance. A fine lap dissolve
brings it right up close and
a quick cut to another scene

Exposure Meter Guide

Sc HE

INER

Wes

TON

SCHK

INER

Wes

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■|

e«

AGFA

GENERA

100

16mm Hypan

Norma! Panchromatic. . .

16mm Panchromatic. . . .

Super Ortho

16mm Supreme Pan. Neg.

Movetone Ortho

I6mm Positive

16mm Plenachrome

KIN 0 LUX

8mm 'J’win-8 Hypan

No. 1

No. 2

No. 3

DUPONT

Reversal Pan

CONSUMERS

1-6

EASTMAN

HOLLYWOOD

16mm Super XX Pan. . .

100

S. S. Pan

16mm Sound Pan

16mm Pan. Negative. . . .

UNIVEX

8mm Reirular Pan

Kodachrome (8 & 16mm)

14*

GRAPHICHROME

Koda. "A” (8 & 16mm) .

18*

Regular

Plus

GEVAERT

Superpanex No. 100

100

Ortho

•With filter.

shows boat being moored
and a young woman, accom-
panied by a native servant
appear at the deck rail. A
title informs she has ven-
tured into the interior of a
foreign land in search of
the fabled Orchidafoo — a
magnificent flower of gigan-
tic proportions.

Here they disembark, and
following scenes show the
woman and servant trek-
king over sand dunes,
through jungles, swamps,
and finally discovering the
Orchidafoo.

Photography : In a brief
150 feet, this filmer proves
he is no slouch with a cine
camera. His desert shots are
superb with good composi-
tion, interesting camera an-
gle, and intelligent use of
filters evident in every shot.
His lap dissolves are among
the best amateur tricks yet
reviewed.

Execution of the trick
double exposure shots at the
close of the picture are ex-
ceptionally good. These
show the couple as they near
the goal of their adventure,
meeting with gigantic rep-
tiles and then finding the
giant flower for which they
have searched. This sort of
trick photography has been
described in previous issues
of Home Movies. In this in-
stance, the flower against
a black background was
filmed at close range and at
the left of the film frame.
Then the film was wound
back, and the woman and
her servant were filmed
superimposed over the same
scene. Of course, they were
placed at a much greater
distance from the camera
and also against a dark
background in order that
their relative size would be
much smaller than that of
the flower. Similarly, the
scene of the couple’s discov-
ery of the gigantic reptile
was filmed in the same
manner.

Editing: Generally good
throughout. Occasionally
overlooked by this filmer
was direction of characters
in moving toward or away
from camera. Usually best
to keep characters walking
away from camera when
they are going toward an
object or place and just the
reverse when they are sup-
posed to be returning.

Titling: All titles were
hand lettered. Composition,
arrangement, and photog-
raphy were well handled.

Single Frame
Exposures!
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From Your Dealer or Direct
BAIA MOTION PICTURE ENG.
259 Gerald. Highland Park

(Detroit), Michigan

WANTED for CASH

SOUND AND SILENT FILMS— ALL TYPES
State condition, and lengths, and lowest
cash price wanted. Will reply at once.

FRANCES ALDRICH

39 Hayes Street Arlington, Mass.

—HOME TITLE LETTERS—

The kind you see on the screen. Hollywood studios
use them. Heautiful classic style metal letters and
numerals. $8.00 set for $5.00—2*20 pieces, stars, bars,
arrows, commas, periods, ? $.

^•i-in. caps. %-in. lowercase, \\niite or black. Instruc-
tions for treating your title board with your order.
No pins; move Iho letters anywhere. Circular sent on
rcducst Price $5.00 postpaid; extra letters 4c each.
CALIFORNIA LETTER SUPPLY
G205 Lexington Avenue

Phone HEmpstcad 5574 Hollywood. Cahf.

A DIME-A-DAY
BRINGS FUN TO STAY^
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down on Keystone and other
8mm and IGmm cameras, pro-
jectors, etc. — bal. in 10 easy
payments, no Interest, no carry-
ing charge. Send 10c for illus-
trated ctlg. Write Dept. IIM3.

( don elder% home movies

739 BOVLSTON ST., BOSTON, MASS.

PAGE 98

HOME MOVIES FOR FEBRUARY

FIRST STEP

To Successful Pictures

Free illustrated catalog, crammed
with hundreds of new and used bar-
gains. Lists everything photographic — stiU and movie
cameras, films, lenses, equipment — at tremendous sav-
ings. Liberal trade-in allowances. Satisfaction guar-
anteed or your money back. 10-day trial. Write for
your FREE Copy — just out. Hurry!

CENTRAL CAMERA CO. Since 1899

Dept. B-9, 230 S. Wabash Ave., Chicago, III.

•SOUND*

RENT

on Film Recording with the

8- I6-35mm

New 16mm

• Sound

A U R 1 C 0 N

Recorders

Come in for a demonstration. We

• Cameras

ajM sound to your film. We do

• Projectors

e'^iting and recording.

• Screens

1 CAMERA MART. Inc., 70-B W.

45 St.. N.Y.C

WINDBACKS

FRAME-
COUNTING

Guaranteed accurate. Expertly engineered and in-
stalled. Money-back guarantee.

Keystone $15.00 • Filmo $19.95

Prtcision Built Aoc^storitt for Ew^ry fVasd
Write Ut Your Requirements

Custom Built Camera Accessories Co.

4124 Rawlins • Dallas, Texas

8 ENLARGED ^ A REDUCED A

TO I 0 TO O

GEO.W. COLBURN LABORATORY

special Motion Picture Printing

1197-A MERCHANDISE MART
CHICAGO

Why use anything else when

TITLES BY PARK CIIVE

cost no more than ordinary titles.
Catalog Free on Request

PARK CINE LABORATORY

1 20 West 4 1 St Street New York City

TITLING IS EASY when you use

MITTENS LETTERS

FOR YOUR TITLES

Handsome 3-dimensional plastic letters in a
wide variety of styles and sizes in complete
sets, priced from $4.75 up.

MITTENS LETTER CO. • Redlands. Calif.

‘'Prcfessionar' Panning Made Easy!
Sensational invention allows you to ad-
just panning friction to YOUll feel.
Smooth 360® panning; 160® tilt. Rigid
airplane metal construction.
Complete unit, Tripod and Head, $15.75
Write for Free Booklet to
10(1(1 F.. Mountain. Glendntp. Calif '

Wo^u of iL Wood.

o Continued from Page 6S

the contents of the bag
more than once, so that
when he finally catches
up with the pair at the
close of the picture, the bag
and its content are as much
of a wreck as he!

In the meantime. Jack ar-
rives in the city with the
girl and immediately takes
her to a swank cocktail
lounge in the sky room of
Long Beach’s Hilton Hotel.
Here some startling bird’s-
eye views of Long Beach
are intercut with alternate
doseups of Jack showing
the girl the city. Following
this. Jack and the girl go
down on the pike — Long
Beach’s amusement center
— and then out on the
amusement pier where Jack
entertains the girl on the
various rides and conces-
sions.

Near the close of the day,
they decide to go for a
swim, and at this juncture.
Jack falls in love with the
girl. She, too, begins to real-
ize there is something more
to Long Beach than the
scenery.

Jack invites the girl to go
to the park and watch a
troupe make movies. Upon
their arrival, the girl sees
Bud in company with Miss
Page, and walks over to
greet him. Of course. Bud is
considerably flustered, and
begins to offer explanations.
He introduces Miss Page to
the girl, who states that
“anyone who is the friend
of the man I’m going to
marry is a friend of mine.”
This brings a retort from
Miss Page. An argument
starts between the girl and
Bud. Jack walks into the
scene and flattens Bud with
a left to the chin.

Bud’s sister appears to
apologize to the girl, telling
her she hired the “garage
mechanic” to meet and en-
tertain her in Bud’s place.
This irks the girl, and she
confronts Jack with, “So!
You were paid just to say
all those nice things to me!”

Jack laughs^ Returning
the roll of bills to Edith he
says: “You just thought
you hired me!” And turn-
ing to the girl he explains :
“I’m no garage mechanic.
I’m an architect. When I

saw your picture it was love
at first sight!”

Of course, there should
have been a clinch here and
the usual fade-out kiss.
However, the picture pro-
ceeds a little further, sans
clinch, with Jack and the
girl walking through the
park. You see, the climax of
the running gag was yet to
follow. Catching up with
the pair is the “forgotten
man” with the bag, as be-
draggled a mess as one
could picture, limping, ut-
terly exhausted, and barely
able to carry the now much
dilapidated bag.

Jack and the girl turn to
greet him. “We’re going to
be married,” says Jack to
his pal.

“Gosh ! You sure work
fast!” the pal mumbles as
he falls flat in a faint, thus
ending the story.

Mrs, Caldwell wisely kept
to doseups wherever pos-
sible and this made the
story easier to follow and
build up interest in the
characters. So often pro-
ducers of amateur pictures
overlook this feature that
frequently the whole pic-
ture unfolds without giving
the audience opportunity to
see what the cast looks like
up close. An actor’s charac-
ter and personality mean so
much to the success of any
filmed story that if it is not
fully revealed to the audi-
ence in doseups, much of
the picture’s inherent value
is lost.

Another commendable fea-
ture of “Happy Landing” is
the titles. The main and
credit titles were hand-let-
tered and made to dissolve
into one another by revolv-
ing the card and revealing
the succeeding title on the
back of the card. These, in
turn, were superimposed
over scenes filmed in Long
Beach.

The descriptive subtitles,
well written, were printed
on deep blue cards. Notable
is the excellent timing of
each — long or short — and
their placement within the
picture.

Quality of photography
was greatly enhanced by
Mrs. Caldwell’s judicious
use of sunlight reflectors.

NEW

GREENWOOD UNIVERSAL TITLER

Adjustable to a completely rigid unit for
use with any 8 or 16mm camera

PRICE $4.00

Attractive Dealers' Discounts

Greenwood Photographic
Devices Co.

North Hills, Pennsylvania

8mm SLITTER

Slits perfectly 16mm width film to exact 8mm
width. Die cast body with hardened steel
cutting wheels. New price, each, $2.50.

DEVELOPING RACKS

Stainless steel, take 30 feet 16mm or 8mm
width film. Can be used in 11x14 or 8x10 flat
trays respectively. Complete with loading
stand, each, $6.75. Specify type wanted.

At Your Dealer’s or Direct

J. C. Haile & Sons

Motion Picture Dept.

215 Walnut Street Cincinnati, Ohio

Save Money! . . .

USE THRIFTY 16mm FILM

THRIFTY ORTHOTYPE IJA

For OUTDOOR . . non-halation ^ I wW
base, fine grain, fast . . Machine H

processed. Per 100-ft. rolls ■

THRIFTY Panchromatic $3.75

THRIFTY Super-Panchromatic $4.25

Thrifty Films save you 50%. Three films to choose
from — each a leader in its class, THRIFTY FILM li
a proven value and our complete laboratory is one ef
the best in the West.

California Buyers Please Include Sales Tax

Sold and Processed Only by

THRIFTY FILMS

Drawer 98, Watts Station Los Angeles, Calif.

COMPLETE RENTAL SERVICE

16MM SILENT I |L M

8MM SILENT I* I I |vl

16MM TALKIE ■

PROJECTORS — SCREENS — CAMERAS

Send for Your Free Catalog

NATIONAL CINEMA SERVICE
71 Dey Street New York WOrth 2-6049

Do You Have a Newsreel, Comedy, or
Travelogue That You Are Tired of Seeing?

Movie Exchange Club announces a plan whereby
you can get endless enjoyment from that filrn. $3.00
and your film (200' 8mm, 400' 16mm) entitles you
to FREE use of our complete library for one year.
Your film remains your own. Write for details.

MOVIE EXCHANGE CLUB
52 Monroe Ave. Grand Rapids, Mich.

"It Always Gets the Picture”

G FILM

Not Anti-halation

100' 16mm (Inc. Proc., postpaid) $1.70

50' Dble. 8mm (Inc. Proc., postpaid) 95

Unspeoled to Save You Money Seheiner 18

Send Stamp for New Free Illustrated Folder

M-G-M PHOTO SERVICE

1485 Oak Street San Franelsee

INEISH

• HIGHEST QUALITY WORKMANSHIP

• DEPENDABLE SERVICE 5 YfARS THB

/?, O/ CHOtCB OF CRITICAL BUYERS

= Uiui Jnjop —

1812 PIEDMONT / CHARLESTON. WEST VA.

HOME MOVIES FOR FEBRUARY

I ^kowmanAnip . . .

I • Continued from Page 73

I and respect the ability of
' adding showmanship to
i what would otherwise be
just an ordinary preview
I with numerous comments
interrupting the mood,
j To erect the stage, a gild-
;| ed picture frame 12" x 15"

!i was used, with a support-
i ing framework concealed in
' back. A remnant of rich
j green velvet was used for
the valance in the center of
which was placed a rhine-
i stone dress ornament. The
' curtains of the same green
velvet material mounted on
' drapery hooks to slide on a
heavy wire support made
‘j; smooth action possible. The
front of the proscenium was
!| built up of cardboard cov-
: ered with light green shelf

1 paper and made to extend
outside of camera range,
i Photographed on a table
>1 with green felt pad, the col-
|( or scheme was maintained.

■| A leader of film thus pho-
I tographed is suitable for all
1 programs by splicing it to
! the first reel. An additional
suggestion to command at-
tention and respect of the
I audience is the insertion of
I a title to dedicate the pro-
gram to the guests by hav-
ing their names appear on
ij the screen. If a house party
I is being planned for several
days and it is known that
I certain guests will be pres-
ent, a short strip can be ex-
posed and developed in ad-
vance and ready to nroject !
before they arrive. The sur-
prise and pleasure created
by this trick is well worth
! the film, and contributes
' much to the successful
screening of the program.

XocJXiL

rat^

Continued from Page 77

cussion of educational film
■ activities now going on in
the state indicate that one
may expect rapid growth in
the very near future. The
state department of educa-
I tion already has a state-
! wide committee on audio-
, visual aids at work. One of
: the problems being investi-
gated by this committee is
j the film library, and it is
likely that its early recom-
mendations will outline a
philosophy to guide in the
j expansion of county li-
braries and in the creation
of a state library.

1 I T I [

Backgrounds

PAGE 100

HOME MOVIES FOR FEBRUARY

unnmiD • HovEiimioi;

EQUIPMENT FOR SALE

• BASS SAYS: Pre-season Specials for Spring
Cine-Caming.

USED CAMERAS

8mm Cine Kodak Model 20, F:3.5 lens. JS19.75.
8mm Movikon, F:2 lens, case, $137.50.

16mm Cine BB. F:1.9 lens, case, $37.50.

16mm Filmo Model 121 Magazine, 3.5 lens,
$39.50.

16mm Cine Kodak B, F:1.9 KA lens. $42.50.
16mm Filmo Model 121 Magazine. 1" 2.7 lens,
$47.50.

16mm Bell & Howell 141 Magazine, Cooke
F;2.7, $75.00.

16mm Bell & Flowell 141 Magazine, Wollensak
F:1.S in focusing mount. $92.50.

16mm Filmo 70D. three lens turret, V' 3.5
focusing mount, 1" 4.5, 4" F :4 lenses, with
case, $152.00.

I6mm Zeiss Movikon. 1.4 Sonnar lens, $245.00.
BASS SPECIAL; Brand new 50 ft. Excel 16mm.
4.5 lens, $9.75.

USED PROJECTOR BARGAINS
16mm Kodascope B, automatic threading, with
case, $32.50.

16mm Bell & Howell Diplomat, 750 watt, with
case, $1 35.00.

16mm Bell & Howell Showmaster, 1600 ft. reels,
variable resistance and voltmeter, with case,
$175.00.

Victor Model 12 Animatophone Sound, 750 watt
lamp. 1600 ft. capacity, $137.50.

For trades that are fair and for everything in
Cine Apparatus — 8mm, 1 6mm, or sound, you
must send for our 84-page Bass Cine Bargain-
gram, most complete exposition of Cine equip-
ment— free on request.

BASS CAMERA COMPANY
Dept. HC. 179 W. Madison St. Chicago, 111.

• EXAKTA reflex camera, vest pocket film.
F:2.9 lens; flash attachment; leather carrying
case; filter holder and sunshade; and one G.
Filter — very scarce. Will sacrifice complete out-
fit for $100.00. BOX HRH, HOME MOVIES
MAGAZINE. Hollywood, Calif.

• BOLEX 16mm — like new, f/1.4 1", f/2.8
Dept. HC 179 W. Madison St. Chicago. III.
17mm. f/2.8 3". Cost $412.00. Sell $250.00.
CHROMART, 43 Church St., Pawtucket, Rhode
Island.

• AMPRO PROJECTOR — Practically new,
16mm. 750-watt, pilot ilght, new bulb, fully
reconditioned. Cost $175. will sacrifice for
$75.00. Box 5. HOME MOVIES. 6060 Sunset
Blvd.. Hollywood, Calif.

• MOVIE Cameras, Films. Projectors, etc.,
bought, sold, and exchanged. Big lists Free.
Art samples, 25c. PEERLESS, Box I3I0-H,
Hollywood, Calif.

• BARGAINS galore! 16mm — 8mm proj'ectors,
supplies, library films. Complete home movie
liftings. Free. NO-WAT-KA, 1 1 River Drive,
Passaic, N. J.

♦ TURRET Stewart-Warner 16mm camera, mul-
tiple speeds alignment gauge, focusing tube — all
ipecially built accessories. Alignment gauge and
focusing tube permits accurate centering. First
$50.00 takes it. May submit money through
HOME MOVIES magazine for assurance of con-
dition and positive delivery of camera. BOX
HH, HOME MOVIES MAGAZINE, Holly-
wood, Calif.

ACCESSORIES

• AMAZING bargains sound-silent film, equip-
ment, accessories. Ampro, Victor projectors cheap.
Rent complete sound programs, $10.00 week.
Time payments. ZENITH, 308 West 44th St.,
New York City.

• NEW or used Bolex 8, extra lenses, filters,
other movie equipment. Tradeins accepted. BOX
47, Scottsbluff. Neb.

• HOME MOVIE closeouts — -8-1601111 projec-
tors, cameras, accessories. Rej 100 ft. 16mm
camera film, $1.75. NO-WAT-KA, 255 Main
Ave., Passaic, N. J,

• THREE-WAY tripod beaded movie screens
30"x40". Value, $9.50. Bargain, $4.95. MA-
LENA CO., 616 Market St,, Philadelphia, Pa,

• PRISM Binoculars, 8 power Hyphos, Value
$35.00. Bargain price $18.50. New money-back
guarantee. MALENA CO., 616 Market St.,
Philadelphia, Pa.

• GOERZ REFLEX FOCUSER— For Victor or
Bell & Howell, Standard thread. Cost $45 00 —
sell for $27.50. H. B. CURLEE, 1873 E. 73rd
St., Cleveland. Ohio.

• RCA 16mm sound projector, 750 watt lamp
15 watt amplifier, 1600 ft. reels, dynami
speaker. Reconditioned, only $175.00. Da-Llt
7' X 9' beaded screen, bargain, $35.00. DE
LANEY MOTION PICTURES, 494 Cline Ave,
Mansfield, Ohio.

• Ten cents per word; minimum charge, $2.00 cash with order. Closing date, tenth
of preceding month. • HOME MOVIES does not guarantee goods advertised.

• Send ads to 6060 Sunset Boulevard, Hollywood, California.

EQUIPMENT FOR SALE

TITLING SERVICE

• CINE KODAK Eight with FI. 9 lens and
1/4^^ F4.5 telephoto, $59.50. Keystone Eight
FI.9, $42.50. PAUL WONDERS, Woolworth
Bldg., Warren, Ohio.

• MAIN TITLES — hand set. Distinctive pho-
tographic backgrounds. 3 for $1.00. Send trial
order or write for samples. CINE-KRAFT, Man-
kato, Minn.

MISCELLANEOUS

WANTED

• 16MM SOUND on film. Complete service.
Change your silent films to sound. New low

• WANT late Bolex H-8 cheap. T.H.P.,
228, Tucson, Arizona.

, Box

• 8MM ENLARGEMENTS— beautiful, lifelike
4" X 5”. Send 2" strip and $1 bill for each
pose. Strips returned with prints. You will be
delighted. JIM’S PICTURES, 234 Flower City
Pk., Rochester, N. Y.

• WANT other cine equipment in trade for
500 W Standard 16mm silent propjector in first
class condition. Still has original lamp! What
have you to trade? G. G., Box. FS, HOME
MOVIES, 6060 Sunset Blvd., Hollywood, Calif.

Qot your emblem?

Get on the bandwagon! Join the finest bunch of movie amateurs that
ever clicked a cine camera! For a greater measure of good fellowship among
brother hobbyists, register now! Identify yourself as a Reel Fellow with a
handsome gold Reel Fellow emblem and a Reel Fellow insignia on your camera.
If you shoot 8mm or 16mm movies, or if you are interested in any of the
aspects of amateur movie making, you are invited to become a member of the
Reel Fellows. $1.00 membership fee is so low no amateur can afford not to
join. Upon receipt of your membership application, you will be sent member-
ship card, gold pin, and insignia for your camera. Be the first in your com-
munity to join! Fill out the Reel Fellows membership application below and
send it in immediately!

MEMBERSHIP APPLICATION

THE REEL FELLOWS

REEL FELLOWS
c/o Home Movies
6060 Sunset Boulevard
Hollywood, Calif.

I am enclosing $1.00 membership fee, for which please enroll me as a member
of the Reel Fellows and send me membership card, gold pin, and camera insignia.

I have been shooting movies (length of time)

My equipment is: 8mm 16mm

Name

Address

City State <

FILM RELEASES

• RENT a 3 reel program, 8mm or 16mm, for
$1.00. Films, cameras, projectors, bought, sold,
exchanged. Free catalogue. ABBE FILMS, 1265
Broadway, New York City.

• 8mm FILMS! Castle. Official. 180 ft., new
— $5.50. Used — $3.85. Liberal allowance for
your films. RIEDEL FILMS, 2221 W. 67th St.,
Cleveland, Ohio.

• UNUSUAL ART Film Catalogue. All latest
releases. Send 10c for sample. ERWINES CINE
LABORATORIES, 43 North Ninth St., Allen-
town, Pa.

• NEW TRAVELOGUES — over 200 feet,
$1.75. Free Storage can. Art sample, dime, re-
funded. ARTCRAFT, 1219 East 6th Ave., Gary,
Ind.

• LATEST 8-1 6mm War, Comedy, Travel, Un-
usual Subjects. Send lOc for sample and lists.
A personal service. RIO, 413-H Elmira, N. Y,

• SOUND and Silent Films exchanged, bought,
sold, rented. Bargains always. New Free lists
FRANK LANE, 5 Little Bldg., Boston, Mass

• CASTLE I6mm sound subjects exchanged,
$1.00. List what you have. VAGABOND
MOVIES, 1302 No. Broadway, Council Bluffs,
Iowa.

• HANIK I6mm FILM RENTAL CLUB
Comedies — Cartoons — News
1225 Stowe Ave. McKees Rocks, Pa’.

JOIN NOW! FREE CATALOG!

• 8MM FILMS! Castle. Official. 180 ft. new,
$5.50. Used, $3.85. Liberal allowance for your
films. RIEDEL FILMS, 2221 W. 67th St.,
Cleveland, Ohio.

• TRADE your old empty reels (all sizes) for
film subjects and rental programs. Films bought,
sold, and exchanged. Films rented everywhere.
Stamp sends Free catalog! ASHA FILMS, 785
St. Johns, Brooklyn. N. Y.

• SELLING OUT 16mm fiilms, Ic a foot. Bar-
gain lists sent for 3c stamp. HOFFMAN FILM
SERVICE. 57 Broad St., Albany, N. Y.

• THRILLING 1941 original film subjects,
8-16mm. New Hollywood and feminine glamour
series. MERCURY PICTURES, I157-H. North
McCadden Place, Hollywood, Calif.

FILM

• MOVIE and Cine Clubs take notice! We
specialize in supplying bulk films to clubs. Send
for our latest price list. BOYD LABORATORY,
Ashton, III.

EXCHANGE OR TRADE

• 500 WATT Standard 16mm silent projector.
Features reverse action, fast motor rewind, rheo-
stat speed control, quick adjustment for tilt, and
separate switches for pilot light, motor, and
lamp. To guarantee condition, etc., o.k. to sub-
mit your check or merchandise to be traded di-
rectly to Home Movies magazine pending ap-
proval. What have you to offer? Write (j. G.,
Box FP, HOME MOVIES. 6060 Sunset Blvd.,
Hollywood, Calif.

PROCESSING SERVICE

• MOTION PICTURE processing — 100' 1 6mm,
75c; 50' 16mm, 50c; 25' 8/8mm 35c; 25' 8mm,
25c. Write for film price list. RITTER FILM
SERVICE, 629 Lyman Ave., Oak Park. III.'

HOBBY BOOKS

• Are you a “beginner” in the ranks of ama-
teur movie makers? Would you like to know
how to use your camera to the very best advan-
tage, yet avoid the mistakes and wasted film
that so often results from lack of knowledge of
fundamentals of cine camera operation? Then
order a copy of “How to Use a Movie Camera.”
Just 50c, and well worth it.

Would you like to learn how to process your
own movie film so that you can buy inexpensive
film in bulk? Let us send you “How to Process
Home Movie Film,” a book chock full of in-
structions and advice by experts plus complete,
easy-to-understand plans for building your own
simple processing equipment. Sent postpaid
for 50c.

VER HALEN PUBLICATIONS
6060 Sunset Blvd. • Hollywood, Calif.

i EASTMAN KODAK COMPANY, ROCHESTER, N. Y.

You1l Enjoy These Additional
Advantages in Filmo Turret 8

Professional Effects Are Easy
with "The Camera with Built-in Skill

Now it is easier than ever for you to own that aristocrat of
8 mm. motion picture cameras, the great Filmo Turret 8.
For this precision-built, turret-head camera may now be
had for as little as $109.50, Take advantage of this low
price now . . . get the Filmo Turret 8 you’ve been wanting
. . . enjoy the many great advantages of having the lens
you want when you want it!

The Vihno Turret 8 with standard
Taylor-Hobson i2Vz F 2.5 lens in
place. The two longer letises and critical
jocuser are extra, optional equipment.

NEW FILMO AUTO MASTER

...only 16 mm. magazine>loading camera with a
TURRET HEAD

If you prefer 16 mm. film, here’s your camera! Has
three-lens turret head which mounts finder ob-
jectives, too. Loads with pre-threaded film maga-
zines. Its five speeds include slow motion. Has
single-frame exposure control, starting button
lock, and “positive” viewfinder. Ask your Filmo
dealer about trading in your present camera for an
Auto Master. Priced from $195.

FILMO PROJECTORS, 8mm., 16mm.

Whether you use 8
mm. or 16 mm. film,
remember that only
Filmo Projectors
provide all these
advantages:

1. Metered lubrica-
tion. Oil fed as
needed.

2. Correctalignment
of every lamp, for
brighter pictures.

3. Quick, easy re-
placement even of a
hot lamp. No tools,
no gloves.

4. Gear drive from
motor to mecha-
nism.

5. Complete film
protection.

BELL & HOWELL COMPANY
1825 Larchmont Ave., Chicago, 111.

Please send illustrated, descriptive litera-
ture on { ) Filmo Turret 8 Camera; ( ) Filmo
16 mm. Auto Master Camera; ( ) Filmo 8

In Hollywood, several cameras film each
scene, so that long shot, medium shot, and
close-up all may be recorded without stop-
ping to shift camera position.

In personal movie making, it is even more
important to film your shots with a single
camera setup. You can’t stop a horse race or
a forward pass, you can’t make a fleeing yacht
pause on its course — while you move in to
film a close-up. But, with your choice of three
lenses mounted on the Filmo Turret 8, you
can switch in an instant from one lens to
another, and thus record the uninterrupted
action in whatever degree of enlargement you
wish — without stirring a foot!

There’s no delay to adjust the finder, either,
for a matching finder objective is mounted on
the turret head beside each lens and is automat-
ically, correctly positioned whenever its lens
is placed before the photographic aperture.

X. “TWO-STEP’' THREADING. Fllmic^s laserteril
imb slot of exnp^ Spool. Theirdmtlx^MMls afi
over spindles in camera, and . . . Filmo 8 is^Bded! No
sprockets to thread, no loops to form. Next, cloae the
door and start taktffi movies.

Bring Hollywood Methods to
Your 8 mm. Movie Making!

2a “POSITIVE” VIEWFINDER. Professional camera type,
eliminating composition errors due to faulty position of
eye at eyepiece. What you see, you get. Image is always
full size — no masking for telephoto lenses. Finder is built in
— damage-proof, dustproof.

3a TAYLOR-HOBSON LENS — fast 12 H mm. F 2.5, well
corrected for use with both color and black-and-white film.
Most of Hollywood’s color films are photographed with
Taylor-Hobson lenses.

4a SLOW-MOTION SPEED. Operating speeds are 16 (nor-
mal), 32, 48, and 64 (slow motion).

5. SINGLE FRAME EXPOSURE CONTROL. Opens such

fascinating fields as making animated titles, maps, dia-
grams, and cartoons; permits animating inanimate objects.

6. B&H DESIGN AND CONSTRUCTION. Since 1907, Bell
& Howell has made Hollywood’s preferred oinemachinery.
Filmos are designed and built to the same t^lgh standards
. . . to professional'.results ivith amateur ease. They’re
backed by a lifetime guarantee!

Treat yourself to complete readiness for every picture
opportunity. See the Filmo Turret 8 at your photographic
dealer’s, or mail the coupon for full descriptive literature.
BELL & HOWELL COMPANY, Chicago; New York;
Hollywood; Washington, D. C.; London. Established 1907.

Price 25c

YEARLY SUBSCRIPTION, $2,00

March . 1941

LARGEST CIRCULATION OF ANY AMATEUR MOVIE MAGAZINE!

for your personal movie library!

devils

' ..D

ac the MR

A thriUi"9' ** “to.mea by

nowned and <>“' J with «eU-phf
hom start piones

tograpb®"* *<=« stunt ♦'y"'9 “"‘t

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d in aviafan. '^hen c-

interested ;j57_C.

aering. spee''^ ^,2.00

400 tt. '6m>n 5.0O

200 tt. 8n.m

SUPER-SERVICE

Donald Duck with Mickey and Goofy as
service station attendants are more will-
ing than skillful when ordered to repair
a car by a brutal villain. But an unex-
pected turn saves their lives — and gives
a lot of fun. No. 1451-B.

200 ft. 16mm $7.50

100 ft. 8mm 3.00

SPECIAL!

Storage cans for 16mm
reels at rock bottom
prices in quantity lots.

20 for $1.00
40 for 1.85

100 for

3.95

Steel-Flex 400-toot 16mm
reels, 3 for $1.00, includ-
ing storage cans.

Steel-Flex 200-foot 8mm
reels, 4 tor $ 1 .00. No cans.

All prices F. O. B.
Hollywood, Calif.

Oswald Rabbit has a nightmare in which
household objects come to life in gro-
tesque size to plague and pursue him.
Windup is a battle with tube of tooth-
paste, with Oswald the victor. Plenty of
laughs and action. Order No. 1 2-A.

100 ft. 16mm $3.00

50 ft. 8mm 1 .50

If Dealer Can’t Supply You, Send for Catalog Direct to

HOLLYlfOOD Fffif E

6 0^6:0 SUNSET BLV D . • • H 'O'L^V'Y WOOD, CALIF

MfiR git

pVISORY EDITORS

1a. K. BAUMGARDNER

I Peoria Cinema Club

R BEZEK

Chicago Cinema Club

kMES BIALSON

imatour Motion Picture Club ot St. Louis

OSS BROWN

Dallas Cinema Club

RGE BURNWOOD

The 8-16 Movie Club, Philadelphia, Pa.

JDE W. A. CADARETTE

Los Angeles 8mm Club

MERSON CLYMA

Detroit Society of Cinematographers

ELL A. DIXON

Pittsburgh Amateur Cinema Club

. DVORAK

Suburban Amateur Movie Club

UR E. GIBBS

Portland Cine Club

A. HOOK

Seattle 8mm Club

ED F. KAUFMAN

Indianapolis Amateur Movie Club

WESTELL

Cinemen Club

:ISSE A. PELLETIER

Toronto Amateur Movie Club

RT B. PETERSON

Metropolitan Cine Club

RIEBETH

Minneapolis Cine Club

EO. ROTH

Sherman Clay Movie Club

ROUNTREE

Bay Empire 8mm Movie Club

IL SNYDER

Norfolk Amateur Movie Club

a. SNYDER

Des Moines Y.M.C.A. Movie Club

ilSSEL

Austin Movie Club

ENION SMITH

Metro Movie Club of Chicago

.» Sacond-Class Matter, May 4, 1938, at
iice at Los Angelas, Calif., under the Act
of March 3, 1879.

on rates: U. S. $2.00 par year. Canada
)n Countries, $3.00 per year. Singia copies
Mian and Foreign single copies 35c. Copy-
I. by Ver Halen Publications. Advertising
rates on application.

(9C1B 489955

^ . /ome—

MOYIES

Member Audit Bureau of Circulations

CONTENTS FOR MARCH, 1941

it’s new to me — By Cinehug Shopper 106

PRINT YOUR TITLES LIKE PROFESSION.4LS DO By Clirtis Randall. . 115

LIMITATIONS OF POSITIVE FILM — By George IV it her ow 116

MASK SHOTS AND MONTAGES — By Stanley E. Andrews 117

here’s 1941 VERSION OF THE 8m;U “dREAm” CAMER.A

By Jack Irwin 118

SURPRISE OPENING, SNAPPY FINISH, MAKE MOVIES CLICK

By A . Elliot Smalley 120
FULL PAGE TITLE K.VCKGROUND — By Curtis Randall 121

HAVE YOU EVER TRIED MAKING TITLES? — By E)r. A . K. Baumgardner 122

HOW TO TAKE CARE OF YOUR FILMS 123

A DUAL TURNTABLE OUTFIT ANY AMATEUR CAN BUILD

By Leonard Bauer, J r. 124
PEP UP YOUR MOVIE WITH A “RUNNING GAG’’

By George H . Cushman 125

FILM REVIEWS THAT CONTAIN AN IDE.V OR TWO — By the Editors . . . 126

DOCUMENTARY OF A CITY CHOSEN MOVIE OF THE MONTH

ByJ.H.Schoen 127

teacher’s vacation filming planned for classroom use

By George IV. Cushman 128

NEW releases

experimental cine workshop 130

WITH advanced CINEFILMERS 133

information please 135

exposure meter guide 136

HOW I keep MY CAMERA BUSY 137

INDOOR LIGHTING CHART 138

TITLE TROUBLES — By George IV. Cushman 139

LATENSIFICATION 148

DIRECTORY OF AMATEUR CINE CLUBS 149

TITLE BACKGROUNDS 1 1

MARCH

NUMBER 3
VOLUME VIII

REEL FELLOWS

A friendly fraternity of
movie amateurs sponsored
by Homo Movies maga-
zine. Your membership is
invited.

★ Shot of the Month — Fourth prize, pictorial class,
Graflex Golden Anniversary Contest, by Howard
Severson, Los Angeles, Calif.

CHAS. J. Ver HALEN

C. J. Ver HALEN, JR.

ARTHUR E. GAVIN

PUBLISHER

ASSOCIATE PUBLISHER

EDITOR

OFFICE OF PUBLICATION

6060 Sunset Boulevard, Los Angeles, Calif.
Phone GRanite 5149

NEW YORK OFFICE
Everett Gellert, 62 West 45th Street
Vanderbilt 6-5254

CHICAGO OFFICE
C. N. Burris, 712 Wrigley Building
Whitehall 7784

RAY FERNSTROM

Technical Editor

GEORGE W. CUSHMAN

J. H. SCHOEN

Associate Editors

C. E. BELL
Photographic Editor

L. C. BUSCHER
Art Director

HOLLYWOOD'S MAGAZINE FOR THE AMATEUR

PAGE 106

HOME MOVIES FOR MARCH

DOES YOUR AUDIENCE

'S-ssss

OR DO THEY

H EER ?

Whether your show’s a success or not depends largely upon its Editing — for in Amateur Movies as in pro-
fessional, EDITING "MAKES" THE PICTURE. Proper editing necessitates the careful selection of desired
scenes and their rearrangement in correct sequence to give smooth continuity to the production as a whole,
the insertion of titles at exactly the right places to convey the proper effect, and the elimination of all
poorly exposed or faulty frames. There is no finer equipment than the CRAIG line to attain the utmost
pleasure and best results in all editing operations.

S E N I O
SPLICER

A professional type dry splicer — for sound or silent
film. Its unique design, combined with precision
machining and sturdy construction, has made this
the outstanding splicer for the amateur. Only four
easy operations to make perfect, straight splices. . .
quickly . . . accurately . . . and without wetting the
film. For Sound or Silent Film $10.00

PROJECTO- EDITOR

FOR ACTION EDITING THE
HOLLYWOOD STUDIO WAY

It takes proper EDITING to make modern, fast-mov-
ing and interest-sustaining movies. The Projecto-
Editor is a smoothly animated viewing device allow-
ing careful inspection, slow motion if desired, of
actual movement on its brilliant miniature screen.
Use it to transform random shots into smooth-run-
ning sequences that everyone will enjoy seeing.

8mm model, as illustrated at left, complete
with Splicer, Rewind and Film Cement . $27.50

8mm Projecto-Editor alone 22.50

16mm model with Sr. Splicer and Rewinds . 49.50

FOTOFADE
and Fotofade Kit

The finishing toljch for all well-edited movies. FOTO-
FADE permits the joining of odd scenes with smooth
FADES or wipes — dissolving one into the other with-
out abrupt loss of continuity. Easy and quick to use
— no special equipment necessary. Bottle sufficient
for hundreds of applications, only $1.00. COMPLETE
INSTRUCTIONS INCLUDED.

Kit, containing special waterproof wipe-off tape,
FOTOFADE and instructions $1.60

[fADcri

fwtPiSj

MAGIC WORD
TITLE LETTERS

Made from a special light-weight, pure white com-
pound. Exceptionally strong. Outfit Includes gener-
ous supply of clean, easily removed cement. Avail-
able in two sizes: Set No. 1 contains 175 3/4"x3/8"
letters; list price, $3.00. Set No. 2 contains 175
l"xl/2" letters; list price, $3.50. Complete instruc-
tions furnished.

Si’s

By CiNEBUG Shopper

British-Greek Victories ^ar pictures available

to owners of 16mm and 8mm
projectors, the home movie that covers the widest scope
of action and crowded with the most realistic scenes of

actual battle is “British-
Greek Victories,” just re-
leased by Castle Films.
For the first time in all
the war-on-film chronol-
ogy, it records defeat for
an Axis power. Previous
Castle films have chron-
icled the fall of small na-
tions under attack by su-
perior forces. This new
movie pictures events
that mark the crumbling of the Fascist dream of empire.

The importance of cameras as a vital arm of modern
warfare makes possible here-to-fore undreamed-of mo-
tion pictures showing actual battle . . . artillery bombard-
ments . . . aerial attacks . . . naval engagements . . . cities
actually crumbling under terrific fire . . . prisoners actu-
ally surrendering in the heat of the struggle ! The camera
is everywhere, and in no home movie yet produced has its
lens secured more graphic, authentic and dramatic scenes
than in “British-Greek Victories.”

The picture also includes scenes showing the flashing
advance of British forces into Eritrea and down the Red
Sea coast, as well as across the border into Italian Somali-
land and on toward Addis Ababa. This newest of Castle
Films is now available at photo dealers at usual low Castle
prices.

New Filmo Eight “400”

The Filmo Eight “400,” new-
est unit in the Bell & Howell
8mm line, is just announced. Taking 8mm reels of up to
400-foot capacity, the new “400” will present a full half
hour of 8mm movies without the
interruption of changing reels.

Embodying all the features of
the famous Filmo Master 8, the
new “400” is said to be the “ulti-
mate in 8mm motion picture pro-
jectors.” All-gear drive, B&H
pre-aligned and pre-focused pro-
jection lamp, “floating film,” fast
lens, power rewind, metered lu-
brication, two-way tilt, among
other features, are claimed by
Bell & Howell for the Filmo
Eight “400.”

At the same time, B&H also
announce their new 400-foot, 8mm reel of spring steel,
with its accompanying humidor can of aluminum.

Eor further particulars write to Bell & Howell
pany, 1801 Larchmont Avenue, Chicago, Illinois.

Com-

G - E Meter Attesting to increased popularity of the 1
new G-E Exposure meter is U. S. Army’s j
recent order to General Electric Company for meters | ,
amounting to approximately $12,000. Meters are for use
by Air Corp in both aerial photography and studio work. |'
Illustrated and informative booklet on this new Gen- t
eral Electric meter is available to interested amateurs by
writing to the company, Schenectady, New York.

Kopy-Kit Manufacturing Co., St. Louis, Mo., offei

the amateur who wishes to make enlarge-

I'l

NOW- FOR THE FIRST TIME.. .HOME MOVIES OF ALLIED TRIUMPHS!

Keep your record of the wars complete with this
greatest of all home movies. See an Axis power
defeated! See II Duce’s dream explode! Here for
you to own and show is the rise and fall of Fas-
cist colonial ambition. Scenes of early invasions
... in Ethiopia and Albania. The struggle with
Britain . . . with valiant, sturdy Greece. Battle
in the war-ways of the Mediterranean! Battle in
Eastern skies! War in mountain fastnesses! War
in desert sands! Short-lived thrusts of Italian

forces into Egypt . . . into Greece. Then the
counter-offensives, with the Fascists in near-rout.
Prisoners by the tens of thousands. Actual battle
scenes. Sidi Barrani, captured and re-captured!
Bardia! Argyrokastron ! Eritrea! The greatest,
war film yet. Own this historic document!

Obtain your copy today from your photo dealer. Use this handy order form, jj

Please send Castle Films’ "British-
Greek Victories" in the size and
edition checked.

CASTLE FILMS

Name

Address

NEW YORK
RCA BUILDING

CHICAGO
FIELD BUILDING

SAN FRANCISCO
RUSS BUILDING

State ,

16 mm SIZE

Headline 100 Ff.

$2.75

Complete 360 Ft.

$8.75

Sound 350 Ft.

$17.50

8 mm SIZE
Headline 50 Ft.

$1.75

Complete 180 Ft.

$5.50

HOME MOVIES FOR MARCH

PAGE 107

OH yom mm ffOMEMO!//E SCREEN/

N '<W

SEE IL DUCE’S EMPIRE FALL
UNDER FIRE FROM
LAND, SEA AND SKY!

PAGE 108

... (or good home movies you
must depend on your equipment
os well os your skill ...

FOR PROPER

PHOTOGRAPHIC

LIGHTING...

you con depend on
F"R HI-SPOT

(HOLLYWOOD TYPE SPOTLIGHT)

Surpass all your previous efforts. Get better
lighting, proper lighting easily and economi-
cally v/ith the F-R HI-SPOT— the spotlight good
cinematographers use to make their better
movies. Compact, light-in-weight, made of die
cast aluminum and possessing power out of
proportion to its size, the F-R Hl-SPOT has
many features usually found only in more
costly equipment. Some of these are: the
famous Fresnel Lens, finger-tip focusing from
a large to a small spot, complete directional
control, tripod mounted or adapted to stand-
ard light stands, heat dissipating fins and
many others.

FOR REAL

ACTION EDITING
you can depend on

F-R CINE ACTION EDITOR

Patterned after Hollywood standards your editing becomes more efficient, more
enjoyable and less costly. Films edited while actually moving or stopped for pro-
longed inspection — smooth, continuous, brilliant magnified viewing of films-—
simplicity in operation — uses a low wattage lamp whicdi gives all essential illumi-
nation without excessive heat — all these and other distinctive features make the
F-R CINE ACTION EDITOR one of photography’s finest buys.

^95

Fink

feRoselieve

C|i ^ COMPANY. INC,

NEW YORK

CHICAGO

LOS ANGELES

HOME MOVIES FOR MARCH

3v.

merits from 8mm films, a simple outfit for the purpose.
Trademarked, “Kopy-Kit,” the outfit consists of a stand
to be placed before projector lens on which is focused the
picture to be enlarged. Clips on this stand hold a piece of
cut film, a supply of which is included with the kit. Also
supplied is a small 7-watt frosted bulb for use in replac-
ing projector bulb in making the enlargements. To this is
attached a generous length of rubber covered cord and
snap switch. Additional information may be had by writ-
ing the manufacturer at 2106 Olive St., St. Louis, Mo.

Vidor Camera Improved

Film Protection

New Sound Kodascopes

exterior design, but differ-
entiated in power output
and other features, these
new Sound Kodascopes of-
fer a complete line from
which the lecturer, school
authority, business man,
sales organization, club or
church group can select a
model that precisely fits ex-
isting projection require-
ments. For each projector.

Victor Animatograph Cor-
poration, Davenport, Iowa,
announce that a series of modifications of the well-known
Victor 16mm camera have been worked out which are

of sufficient importance to
warrant considering it as a
new advanced camera. De-
signed to meet the needs of
critical accuracy at all
speeds for scientific pur-
poses, this new development
brings 16mm camera per-
formance to a new high.

The new unit, called the
Aircraft model, turns in re-
sults of remarkable accu-
racy at all speeds over a
range of temperature down to zero and even lower.

In the previous model Victor cameras, the starting but-
ton was turned to set the speed of the camera, and when
depressed to start the mechanism, it also placed a tension
on the film gate. In the new model the speed is set by a
separate dial clearly visible in the illustration, while the
other functions of the starting button were retained.

To accomplish the new standards of accuracy and con-
trol, new bearings of an advanced type are used through-
out and a new governor is added together with such fea-
tures as a lock on the starting button to hold it down at
any operating speed or to lock the button in the safety
position when the camera is not in use.

Having serviced such firms as Mono-
gram Pictures, Ideal Pictures, National
Broadcasting Studios, and U. S. Navy for years in clean-
ing and protecting films. Standard Film Processing Co.,
New York City, now offer their film protective service to
the amateur at surprising low cost. Their guaranteed
“film laundry” service lends protective qualities to movie
films and restores original brilliancy. For further infor-
mation, write Standard Film Processing Co., at above
address.

Five new 16mm sound projec-
tors covering the widest pos-
sible range of school, industrial, and home needs — are
announced by Eastman Kodak Company, Rochester, N. Y.
Similar to one another in

a choice of six lenses is available, in focal lengths of 1 to 4

DA-LITE CHALLENGER

America’s Most Popular Screen

Is different from any other screen. It is
the only screen with square tubing in
the tripod and extension support to hold
the screen rigid and perfectly aligned —
the only screen that can be adjusted in
height by merely releasing a spring lock
and raising extension support.

The Challenger can be set up anywhere
in 15 seconds; yet it folds to compact
proportions for easy carrying. It is
sturdily built. The handle is mounted on
a ivide flange encompassing the case
(not on the thin metal of the side of the
case). Only the Challenger has all these
features. Twelve sizes, including square
sizes from 30" x 40" to 70" x 94". From
112.50* up.

It “

GLASS-BEADED

SCREEN

DtolE

(Reg. U. S. Pal. Off.)

DA-LITE JUNIOR

(Illustrated at Left)

Ideal for those who own inexpen-
sive low wattage projectors. The
Junior has the same Beaded surface
as is used in the most expensive
Da-Lite Screen. It can be either
hung from the' wall or may be set
upon a table. From $2.00* up.

For Better Value, look for the
name DA-LITE when you buy!

*Prices slightly higher on Pacific Coast.

Yes, even your best shots will look better w’hen you show
them oil this specially processed Glass-Beaded fabric . . .
and some of the others which you tluniglit “not so good”
will stay on the reel! As for the reason? That’s simple!
It takes a screen that reflects maximum light to bring
out the full beauty, sharp details and correct tones or
color values of your film. The Da-Lite Glass-Beaded
fabric reflects more light for all average viewing angles
than any other screen surface. It makes your pictures
look sharper and more brilliant. So if you want to im-
prove tlie quality of the pictures you have already taken,
show them on this famous Da-Lite Beaded fabric — the
result of 32 years of leadership in screen manufacture.
Available in the size, style and mounting which best fits
your needs. See Da-Lite screens at your dealer’s! Write
today for descriptive literature!

DA-LITE SCREEN COMPANY, INC.

Dept. 3 H.M., 2723 NORTH CRAWFORD AVE., CHICAGO, ILLINOIS

DA-LITE SCREENS

AND MOVIE
ACCESSORIES

PAGE 110

HOME MOVIES FOR MARCH

gorgeous color values unspoiled. You can
enjoy Ampro's reverse picture operation for
humorous effects ... its 400-ft. reel ca-
pacity, fast automatic rewind, full 500-
watt brilliantly clear illumination with flick-
erless steady pictures . . . and many other
exclusive advantages.

Send for Catalog

giving prices, specifications and the full
story on the Ampro 8mm. and 16mm.
line of precision projectors. Ampro Corp.,
2839 North Western Ave., Chicago, III.

AMPR

j AMPRO CORPORATION, Dept. HM-341
[ 2839 N. Western Ave., Chicago, III.

1 □ Please send me full details on the new

* 8mm. AmprO'Projector.

• □ Also the complete Ampro 1941 Catalog

I of 16mm. projectors.

j Name

{ Address

I City State

At last . . . here is a "de luxe" 8mm. pro-
jector that gives you results equal to 1 6mm.
machines! You will THRILL at the clarity,
the detail, the sparkle and beauty of your
8mm. films . . . when projected with this
new Ampro "8." Now you can have color
movies that are clear, distinct — with their

Talking Movies
in Your
Home!

Make your living
room a theatre for
your family and
friends — with the
new low cost Am-
pro 16mm. sound-^. .
film projectors. These
simplified, quiet projec-
tors are as easy to operate
as a radio — with rich life-
like tone quality — clear, en-
ioyable illumination. For parties
and family gatherings, they provide
fun, education and thrills! Large libra-
ries of talkie news reels, travelogues,
comedies, feature pictures are now avail-
able at little cost. Many government depart-
ments and private companies furnish sound films
for cost of postage.

J/i NEW

inches, to fit all the commonly-used projection distances
and screen sizes.

Other features are: Power output 10 watts up to 40
watts; special design for smooth film movement assures
high sound quality; either variable area or variable den-
sity can be used on all models ; some supplied with double
speakers and sound mixing controls.

Detailed descriptive literature on the new Sound Koda-
scope line will be available through Cine-Kodak and Koda-
scope dealers early in March.

Keystone’s New Eight Manufacturing Co..

Boston, Mass., introduce this
month their latest 8mm projector, biggest feature of
which is extended reel arms which accommodate 400-foot

reels, permitting screening of
a full 30-minute show without
necessity of changing reels.

Other features of this improved
model A-8 Keystone projector
are: 750-watt projection lamp;
increased brilliance in still pic-
ture projection; reverse projec-
tion lever; all-geared motor
drive; removable condenser;
true f/1.6 Wollensak lens; fast
automatic rewind; pilot light;
variable speed control ; Univer-
sal motor, and strong cooling
draft directed across film aperture plate.

Presto Turntables Presto Recording Corporation,
New York, N. Y., has just placed
on the market as a separate unit, the dual-speed 12" turn-
table formerly sold only as part of their model K commer-
cial recorder. Radi-
cally different in de-
sign from any other
table, the new Presto
11-A employs a cast
aluminum turntable
precision machined to
dynamic balance. The
table revolves on a
single ball bearing at
the base of a bronze shaft well. A heavy, live rubber tire
is fitted to the rim of the table. A metal pulley on the
motor shaft drives directly against the tire eliminating
idler wheels, rubber tired pulleys and other parts which
wear rapidly. A slip-over pulley is removed to change
speed from 78 to 33% RPM. The motor and turntable are
mounted on a steel base ready for installation in por-
table or console phonograph record and 16" transcription
players.

Maurer Takes Over formation in New York of a

new company under the corporate
name of J. A. Maurer, Inc., for the production and servic-
ing of professional 16mm sound motion picture equip-
ment has just been announced by its president, John A.
Maurer.

The new company takes over the assets and business of
The Berndt-Maurer Corporation, founded in 1934, and
will manufacture the Sound-Pro Camera, B-M Sound Re-
cording System and B-M 35mm Sound Recording Gal-
vanometer Units as previously. Manufacturing and mar-
keting policies continue as formerly without any changes
in equipment design but with increased emphasis on new
developments in motion picture equipment and related
fields.

HOME MOVIES FOR MARCH

PAGE 1 1 1

o "Curves,” by Mily Richter, New York
City amateur, whose artistic prints have
hung in the Pittsburgh Salon, the P. P. A.
Salon, and other exhibits here and abroad.
This enlargement has a striking geomet-
rical pattern which intrigues, plus tone
gradation and contrast, which makes it
outstanding. A Wollensak S'A-inch /4.5
Velostigmat preserved the fine detail and
sharpness from edge to edge in this en-
largement. Mily Richter regularly uses
Wollensak lenses in her work. Improve
your photography with a Wollensak.

M ROCH|E|T

PAGE 112

HOME MOVIES FOR MARCH

Master TITLE KIT

The Brown Precision Titler is endowed with
advancements which far surpass any other title
maker on the market. It has optical bench pre-
cision and performance. It makes zooms, flip-
flops, turn-arounds, rear projections, animations,
etc. Quick and easy alignment of the camera lens
with the easel assures properly centered titles.
The outfit includes: Opal glass, clear glass, and
cork backgrounds, 9" x 12" . . . two reflectors
with adjustable tM*ackets
. . . 12-ft. extension cord
. . . vertical pivot bear-
ing . . . target-sight and
supplementary lens
holder . . . field chart for
lens . . . and complete in-
structions.

^27.50

#ess th® button-and

m ALL LINSE5

GET "PROFESSIONAL" FADES,

WIPES and VIGNEHES

TIMED AND OPERATED BY
MECHANISM

222 clean-cut, whit^ metal characters, including capitals and
lower case. Choice of plain back ... or, if desired, pin back on
special order. The white letters, however, may be colored with
water-colors for use with Kodachrome, and they are easily wash-
able. Packed in a partitioned box, with an exclusive
templet composing gauge and instructions ’IZ.iU

See your
favorite
dealer or
order
direct:

When you make your own motion pictures, scene transitions
— that is, the change from one scene to another — are impor-
tant if you are to expect smooth and even continuity and
greater interest. The finest scene transitions now become an
accomplished fact with the Cine Transito, Jr. which creates
fade • ins, fade - outs, lap - dissolves (with back - winding
cameras) and real wipe-off effects. The Cine Transito, Jr. is
small, compact and light — it is efficient and eveready for use.
Adapters to fit practically all cine lenses. When or-
dering specify your lens!

AMERICAN BOLEX COMPANY, Inc. • iss east 44th^REET, new york city

Jr, HEW

Luminite Titles Luminite Products Co., through their
national distributor, Frank A. Emmet
Co., Los Angeles, are now offering the amateur a selection
of more than 300 different already-filmed and ready-to-
use titles for 8mm and
16mm movies. Among titles
available are those for
movies of vacations, home,
mountains, beach, birth-
days, fishing trips, travels,
sports, and foreign lands.

Titles are artistically let-
tered on ornamental or il-
lustrated backgrounds and
are available in black and
white, color tones, or natural colors. Wide assortment of
Luminite Titles are being placed with photo dealers
throughout the country as fast as production permits.
Amateurs who are, as yet, unable to obtain Luminite
Titles from their local dealers, are urged to write direct
to Frank A. Emmet Co.

Editing Aid Marathon Photo Supply Co., Wausau, Wis-
® consin, announce increased production on

their popular “Mara-Movie” editing rack introduced last
month. This new accessory is substantially constructed

17l^" X 11" in size with 40
numbered sections for hold-
ing 8mm or 16mm film
scenes, coiled, ready for
splicing. Rack is fitted with
collapsible easel and snug-
fitting cover for protection
of films against dust.

Included with each outfit
are 100 printed continuity
slips for identifying each
section of film; also simplified directions for using the
outfit and valuable tips on editing home movies.

New Lamp for “Eights” Jhe Radiant Lamp Corpora-
tion, Newark, New Jersey, an-
nounces their new 300 W. Biplane lamp, for use in 8mm
projectors, is now available in all standard voltages. The
new lamp is designed to replace
the old 2CC8 filament type lamp
of the same wattage that is now
in use generally. It has the same
overall length and finished light
center length as the 2CC8 type.

It utilizes for the first time the
highly efficient C13D or “Bi-
plane” type of filament construc-
tion that has hitherto been only
available for use in 16mm and
35mm projector machines.

The use of a Biplane filament
for the first time in a miniature
lamp for 8mm work has resulted
in 15 to 40% increases in screen
illumination depending upon the standard projector used
and its associated optical system.

This new lamp is said to be more rugged in design than
the 2CC8 type, and made for exactly the same degree of
forced cooling that is currently used in 8mm projector
machines.

FotOShOD Bulletin Now available is Fotoshop’s 40-page
^ Spring Bulletin featuring thousands

of special values in new and used cameras, lenses, en-
largers, lighting equipment, flash guns, books, movie cam-

• Continued on Page J48

an 'V-

NOW You Can Start

miBm

«32

EVERE MODEL 88 CAMERA

|Smple loading — a school child can oper-
it. Exclusive automatic sprocket con-
•ol forms loop in film— quick and easy
thread. No take-up snubbing— no jam-
ning of film. That's why amateurs^ prefer
"Revere." Other features: Licensed
l^stman-type spool spindles, built-in^ op-
cal view finder, 5 speeds. Precision
onstructed mechanism. COMPLETE with
‘^ollensak 12.5 mm.

{3.5 lens in remov-
ble universal focus
counting

EVERE MODEL 80 PROJECTOR

ears ahead in design and performance:
ouble blower cooling system; perfect
Jm registration; enclosed gear and
tdouble-lock" chain film rewind; quiet,
owerful AC'DC motor; 300 ft. reel ca-
^city. COMPLETE
lith long-life 500-
iatt lamp and
ist I" FI. 6 lens

OMPLETE CAMERA
nd PROJECTOR

Tily

$6500

«97

For Still Greater Versatility

REVERE DELUXE MODEL 85 PROJECTOR
has all the basic features of the Model
80 plus beam threading light, helical
gear tilting device, duo-shield light dif-
fuser and de luxe carrying case. COM-
PLETE $75.00

REVERE MODEL 99 TURRET CAMERA
has, besides the regular features of the
Model 88, a turret head for 3 lenses,
and an extra optical view finder for
telephoto lenses. With one Wollensak
12.5 mm. F2.5 lens, COMPLETE $65.00

REVERE CAMERA COMPANY* CHICAGO

PHILADELPHIA • KANSAS CITY • MINNEAPOLIS • LOS ANGELES • DALLAS

\ ,3 V * . - -

AND PROJECTOR

For Less Than You V/ouW Expect
to Pay for a Projector Alone

High quality, at low cost, has made Revere 8 mm.
Cameras and Projectors the greatest values in the
entire home movie field. The Revere combination
shown here — the Model 88 Camera and Model 80
Projector — provides everything yon need to make
perfect color or black and white movies — for less
than yon wonld expect to pay for a projector alone.

Compare each of these precision-bnilt instruments
with any other e<|uipment, regardless of price! The
Revere Camera is the only 8 mm. Camera with auto-
matic sprocket film control (no gate snubbing of
film — no film jamming) — extra refinements — 5
speeds, parallax-corrected bnilt-in view finder, one-
piece hinged body. The Revere Model 80 Projector
is unsurpassed for brilliance and steadiness. But see
the e<juipnient and ask for a demonstration. You,
too, will choose Revere! Write for details now!

REVERE CAMERA COMPANY i

Dept. 3IIM, .320 E. 21st St.. Chieafjo. Illinois |

Semi literature on Revere 8 iniii. Cine equip- ■

nient. **

iSamp B

Street B

C’i'fv ...State PI

Great for the Great Outdoors

For this year’s movies of the wide
open spaces, you can use no bet-
ter film than Agfa 16 mm. Hypan.

Here’s why —

It’s a high-speed film that is fine-
grained and fully panchromatic, espe-
cially designed for outdoor work. You
will find your projected pictures are
clear, sharp and remarkably brilliant.

For double-8 cameras, Agfa Twin-

Eight Hypan Reversible is ideal for
both indoor and outdoor work. Its
emulsion is characterized by exception-
al speed, fine grain, brilliant gradation
and high resolving power.

Agfa 16 mm. Hypan is only $6 in 100 ft.
rolls and $3.25 in 50 ft. Agfa Twin-
Eight Hypan is only $2.25 for 25 ft.
(double width). Prices include process-
ing and return postage. Agfa Ansco,
Binghamton, New York.

Agfa

8 MM. &16mm.
HYPAN REVERSIBLE FILM

MADE IN U.S.A.

114

HOME MOVIES FOR MARCH

HOME MOVIES

Published in Hollywood
MARCH 1941

may think adding printing equipment
to one’s array of movie-making apparatus a little
extraordinary, but the truth is, many amateurs
are doing just that. As an amateur’s skill for mak-
ing movies develops, it invariably follows that he
will have nothing but the most professional-look-
ing titles, and this calls for those made from cards
printed by letter press. This does not exclude hand-
lettered title cards, of course, which are equally

FIG. I

i^our

HUES iiL p4

edSioncili

By Curtis Randall

attractive when made by a skilled letterer. But
few amateurs are sufficiently adept with a letter-
ing pen. On the other hand, almost any movie ama-
teur can operate a small printing press and get
uniformly good results.

Favoring titles printed by press is the fact
they are neater and make for uniformity of titling
throughout a picture. With few exceptions, all sub-
titles used in professional silent pictures are print-
ed by letter press. Of course, these are printed in
white ink upon black title cards, but the amateur
may do the same where he desires to shoot his
titles with reversal film instead of using the less
expensive direct-positive method which requires
the title cards to be printed in black ink upon
white or light colored stock.

For printing white letters on black paper stock,
a full white ink is available from most printers’
supply houses; and where it is not, there is still
another method which may be followed. Ordinary
ink of any color may be used to print on the black
card and the card then dusted with a fine alumi-
num powder. The powder will adhere only to the
wet ink. When dry, the title will appear to have
been printed in silver ink.

The illustrations show the simple procedure
necessary to print small title cards. First, the type
is set. The letters and words are spaced out to fill
lines unifoi’m in length. An alternative to using
hand-set type is to furnish a local linotyper with a
list of titles and have them set by machine. He

• Contbiucd on Patje

• A small press like
one pictured above re-
quires little space in
one's workshop. Pic-
tured below from right
to left ore simple steps
in printing o title cord.
Fig. 2 shows setting of
type; 3, locking type
in form; 4, printing the
cord; and 5, the fin-
ished cord ready for
the title-.

CELLULOID BASE

^EMULblON

HALATION AREA
LIGHT RAY

ANTI- HALATION
BACKING

.■= EMULSION

LIGHT RAY

POSITIVE FILM

REVERSAL FILM

llluslrating principle of halation, inherent characteristic of positive film. Compared
is cross section of reversal film with protective, halation-absorbing backing.

HOME MOVIES FOR MARCH

Authored by
George Witherow

csCimiiationd yposmvi

/ Mm . . .

cl6 a reverSa

JVI.OVIE amateurs have long awaited the day
when an inexpensive film comparable in price to
positive would be made available for home process-
ing which would contain more of the characteris-
tics of panchromatic film. In the meantime, the
unorthodox use of positive as a “reversal” film
continues among hundreds of home-processing
amateurs and not without some measure of suc-

cess. There are, of course, many who have not

fared so well.

• Reproduced below is

on enlargement from Amateurs about to Venture into use and home

frame of 16mm posi-
tive film developed by
reversal process. Al-
though background
registered normally,
sun-tanned bathers
photographed black.
To obtain any kind of
detail in the figures, it
would have been nec-
essary to open up the
lens to a point where
background registered
in solid white and with-
out any detail what-
ever.

reversal of positive film quite naturally will ask:
“What success may I expect?” “What precautions
are necessary to insure a measure of success?”
Positive film, as most movie amateurs know, was
originally conceived for the purpose of making
positive projection prints from negative films.
Essentially, negative is the “camera” film and pos-
itive, the “projection” film.

More recently, however, exploring amateurs dis-
covered positive film could be used as a negative —
that is, as a reversal film — under certain limited
conditions. The important difference between pos-
itive and negative film (the latter term, in this
instance, being synonymous with panchromatic re-
versal films) is that
positive lacks the
color sensitivity of
panchromatic ;
lacks speed, thus
requiring in-
creased exposure
which many lenses
such as the f/3.5’s
are not always able
to give ; and no less
important — is not
protected with an
anti-halation back-

ing. Favoring positive film is the fact it is far less
expensive than panchromatic; it can be handled
during processing under a brighter safelight ; and
it is finer grained.

Positive film possesses very little latitude. Lati-
tude, in the language of photography, means the
ability of a film to record an extreme tonal range.
If a film is capable of recording only a limited
range of color tones, tones outside the range will
record opaque or chalky. If exposure is set for the
lower tones, the higher tones become “washed out”
or transparent, resulting in virtual over-exposure
for the high tones, normal exposure for the low.
The reverse would be true were exposure set to
favor the higher tones.

When we say positive film lacks color sensitivity
or is “color blind,” we mean the emulsion of this
film is sensitive only to ultra-violet, blue, and some
green. It is not sensitive to yellow-greens, nor to
yellow, orange, or red. Positive film will record
red roses or tulips in black or muddy gray. Yellow,
dark green, orange, or red objects will photograph
quite dark, if not absolutely black. Blue objects,
including skies, will record extremely light, and
dark-skinned persons or those with a sun-tan will
photograph unnaturally dark.

The emulsion speed of positive film is slow. In
fact, it is probably the slowest movie film obtain-
able except for some special emulsions designed
for critical experimental work. The average ex-
posure for this film in bright sunlight is f/6.3,
which practically restricts its use to bright, sunny
days. Scenes have been successfully filmed with
positive on cloudy days at f/3.5. The red light of
late afternoon calls a halt to the user of positive
film unless his camera is equipped with an f/1.9
lens.

Since positive film tends to be contrasty, due
to its slow speed and poor latitude, subjects of lim-
ited tonal range will photograph best. This would
include subjects flat lighted on cloudy days, with
few if any shadows or dark areas. On the other
hand, scenes in bright sunlight will record in heavy
opaque and chalky white tones.

If one were to use positive film in the camera
strictly as a negative, the photographic result

• Continued on Page 144

116

[ HOME MOVIES FOR MARCH

j Authored by
; Stanley E. Andrews

]VLaSK shots and montages can be filmed
I with any 8mm or 16mm camera and do not neces-
sarily involve the use of expensive or complicated
accessories. A mask shot is one made with an
, opaque mask placed before the lens in which is cut
; out some design appropriate to the scene. Most
I familiar are those which give the effect of the

i scene having been filmed through a keyhole, a pair

I of binoculars, etc.

:| Montages employ the use of masks in which a
i section is cut out. With such masks, portions of
j several scenes may be photographed or “mon-
I taged” upon one complete film frame. Best known
of popular “montaged” shots are the main title
j backgrounds used in the opening of Fox Movie-
! tone News and Universal Newsreels.

The most simplified form of masking consists of
a dull black piece of lightweight sheet metal, card-
board, or stiff paper, with a hole cut in it the shape
1 of a keyhole, or any shape desired. The size of
mask required depends on the focal length of the
lens and the distance the mask is placed in front
of it. A standard lens of 1 inch for 16mm or
12i/2mm for 8mm would require a mask 3"x4"

A MASK. 4" FROM THE LENS WILL
qiVE AN EDQE. LIKE THIS;-

WHICM WILL BLEND
50 THAT NO DIV-
IDINQ LINE SHOWSl-

FIG.

ONE MASK LIKE THIS CAN BE USED IN THESE FOUR POSITIONS :-

JUST THESE TWO MASKS ARE NECESSARY FOR

FIG.

5-shot set-up uke this

placed 10" in front of the lens. At 6" a mask
l-4/5"x2-2/5" would be required. In fact, the scale
of mask areas is the same as title areas at various
I distances, although the masks should be made
j slightly larger in order to allow for slight inaccu-
i racies in centering. The method of computing the
, size of mask for any number of inches distance
at which it is placed from the lens is to take
I 3/10"x2/5" as a basis, when a standard lens is
! used, and multiply these figures by the number of
j inches from lens to mask. For instance, if the
I mask is 5" from the lens, then the size of the mask
j should be 5 times 3/10" by 5 times 2/5", which is
I 11/2”x2". For a 16mm wide angle lens, 15mm focal
I length we take l/2"x2/3" as the basis. For a 16mm
I 3" telephoto lens, l/10"x9/64" is the basis,
j The distance from the lens at which a mask
should be placed depends upon the degree of sharp-
ness required. The closer it is to the lens the more
' fuzzy will be the edge, because it is much more out
of focus at 4" than it would be at, say, 10", assum-
ing, of course, that the lens is focused on an object
some distance ahead of the mask. A fuzzy edge is
' useful in certain forms of multiple exposure work,
J as the edge of one scene will blend more readily
into another. (See Figs. 1 and 2.)

The method of holding the mask in place before
the lens depends entirely on the ingenuity of the

117

moiiTHi:[!i

U/L

ill

ani^

camera

photographer, unless he already has a proper
masking mount. There are many ways of doing
this. The mask support can be attached to the lens,
or to the body of the camera, or to the tripod ; or it
can be supported by some independent means. The
important thing is to have the mask held in place
at the proper distance in front of the lens and at
right angles to the lens axis.

/^MATFlJItS who own typewriter titlei's will
find them an excellent means for making mask
shots. By fitting a simple
cardboard hood between
camera and the title card
holder, as shown in illus-
tration, the masks may
be placed in the title card
holder. The hood serves
to prevent light reflecting
from surface of mask to
camera lens.

As black does not I’e-
cord on the emulsion of

• Continued on Page 132

• Figs. 1 to 4 explain
effects to be gained
with various methods
of masking. Sketch be-
low shows manner of
converting ordinary
typewriter titler into
matt box, and effects
device for making
mask shots. Hood con-
structed of cardboard
is painted black inside
ta absorb stray light.
Masks, cut from heavy
black paper, fit title
card holder.

LiINEBUGS ! Meet the dreamiest of “Dream”
cameras — a hopped-up Cine Kodak Eight recently
completed by William F. Conley of Watsonville,
California. It boasts such features as a reversible
6 volt electric motor; 100 foot capacity double-
8mm film chamber with built-in footage counter ; a
reciprocating film claw that works equally smooth
whether film is run backward or forwai'd ; a view-
finder adjustable for parallax ; single frame crank ;
and a frame counter. Conley turned out the job
during spare hours in his garage workshop with
materials and parts that cost but $12.03 !

Conley’s incentive for re-modeling his Model 60
Eastman camera sprung from descrip-

FIG. 5

tion of the first “Dream” job which ap-
peared in the January, 19.39, issue of
Home Movies. Then, when he read in
the September (1939) issue of still an-
other amateur’s success in hopping up
an 8mm Cine Kodak, Conley cleared
the decks of his workshop and set to
work in real earnest. His camera was
disassembled, measurements and cal-
culations carefully taken, a list made
of needed materials and parts, and the
work begun.

The $12.03 was spent for the follow-
ing : 1 Veeder-Root counter ; 1 eighteen-
tooth bevel gear, 32 pitch ; 1 eight-tooth
bevel gear, 32 pitch; 1 sixteen-tooth
spur gear, 48 pitch ; 2 ball bearing sets ;
1 Klaxon hornjoiotor; sheet of alumi-
num ; supply of imitation leather ; piece
of stainless steel; Eastman sprocket
gate ; and an Eastman crank for the
single-frame shaft.

The film chamber mounted on top of the cam-
era was constructed from scrap auto-body metal,
cut to shape and welded from the inside. The regu-
lar camera footage counter and window was re-
moved and fitted in the film chamber. The cham-
ber was fastened to the camera with three bolts.
Two holes were then cut through the camera case
and chamber to permit threading of film, as shown
in Fig. 6.

Inside the film chamber is fitted a separate plate
on which are mounted the spindles for the film
spools. Both spindles are floating, extend through
back of plate, where they are fitted with grooved
pulleys linked together with a spring drive belt.
This belt contacts the takeup gear of the camera.
Ratchet dogs work on both pulleys to facilitate
backing up film when backwinding or Aiming re-
verse action.

Also mounted on this plate is the footage counter,
a small disc marked off for 100 feet. Hub of the
disc is a small clock-gear with five teeth. One-
foui'th of a gear, cut to match this small clock-
gear, is attached to shaft of arm that rides on the
film to indicate amount of film in chamber.

To facilitate feeding film to and from film cham-
ber, a sprocket assembly from a model “E” Cine
Kodak was fitted just back of the large film gear
of camera as indicated by arrow in Fig. 6.

Action of the pull-down claw was changed so
that it will run film forward or backward. This
necessitated turning a small part on a lathe. Then
the main spring gear v/as moved from the side of
the camera next to the framework and the bronze
gear turned around.

Most interesting, perhaps, is the motor drive

118

PAGE 119

DMEIIII..!

I unit. The motor is that of an old Klaxon horn

I which was secured from an auto wrecker’s. The

armature shaft was mounted on ball bearings and
the brushes were re-constructed so they would be
the full width of the motor, thus making the unit
more compact.

1A double-pole, double-throw switch is fitted just
beneath the motor for use in reversing same. Im-
mediately below this switch is the motor release
button. The old spring motor release is eliminated
j| entirely. In operating the new motor release, it
I brings a stop-lever down to make an electrical con-
'i tact with a flat spring adequately insulated from
I the camera case. Current from the battery comes
i' to this contact through one wire, and the other

' I wire is connected directly to the motor. The start-

j ing lever works with a small fly-wheel fitted with
, I a stopping pin set off-center. This insures camera
4 always stopping with shutter closed. A view of
I this complete unit is shown in Fig. 5.

,! The housing for this unit is made of sheet

aluminum, save for the cover which is plywood.

1 1 The single frame crank is attached to the cover,
i as shown in Fig. 1.

This unit, as well as the enlarged film chamber,
is covered with black imitation grained leather,

' and a very excellent job, too. Completing the trim
J are strips of stainless steel.

The viewfinder is the same which formerly
' adorned the top of the camera. It is fitted with a
means for adjusting it for parallax, and attached
1 to side of camera, as shown in Fig. 4, on a line
! with center of lens. It may be folded back out of
! the way to facilitate opening camera case.

Method of connecting power supply for motor is
shown in Figs. 1 and 3. Into the motor housing
has been fitted a receptacle to take a two-prong
electrical plug. A storage battery furnishes power
for turning the motor, although a set of dry cells
would serve the purpose just as well.

The added bulk of this camera, made it neces-
sary for Conley to re-construct the base of the tilt-
pan head of his tripod so it would hold the camera
more securely and prevent it from wobbling as it
would do when screwed to the limited base of most
tilt-heads. A strip of metal, the wndth of the cam-
era case and about four inches long, was attached
to top of the tilt-head, and a new camera screw
turned to fit the added thickness of the base.

All in all, this is a very professional-looking
job, as may be seen from the accompanying photos
and attracts no little attention wherever it ap-
pears in Conley’s movie making exploits. The
added features enable Conley to do most all of the
things the professionals accomplish with their big
studio “thirty-fives,” except making automatic
fades and dissolves. This is no serious drawback,
however, for fades are just as eaily and effectively
made with a fading glass. For making dissolves,
this camera is equipped with the really important
thing — a frame counter — which insures success-
ful lap-dissolves made with a fading glass or other
similar device.

A camera boasting all the features of this
“Dream” job offers many advantages to the seri-
ous filmer. First, its generous film capacity makes
it ideal for extensive filming of events such as
football games, ski meets, parades, etc., where the
loss of a few moments taken to change film, so fre-
quent with cameras of standard limited film capac-
ity, results in missing important shots.

A camera of this type is ideal for the cinemia-
tographer engaged in filming the sports activities
of schools and colleges, and there is an increase in
the amount of this sort of work being done with
eights lately, especially among the high schools.

Another advantage is that a more even overall
exposure result is obtained because a larger reel of
film is processed at one time, resulting in uniform
development over greater footage.

Authored by
Jack Irwin

• Pictured here are
four exterior views of
Wm. Conley's hopped-
up cine camera, to-
gether with two views
of the revamped mech-
anism. Powered with a
6-volt motor from on
old Klaxon horn, shown
in Fig. 5, this camera
occommodotes 1 00-ft.
rolls of double-8mm
film. Chamber for
holding film and
sprocket added for
guiding film to and
from chamber are
shown in picture be-
low.

HOME MOVIES FOR MARCH

Authored by
A. Elliot Smalley

Hollywood Scenarist

comedy ; or that a film intended to
be light-hearted should never be-
gin with somber action. The rea-
son for this is obvious. The open-
ing sequence labels our film as to
type, and if the audience is led to
expect one thing and we show them
something entirely different, we
have offended and confused them.
Our film will lack unity.

[

iinislij

opening.,

mane movied c

• Above photo sug-
gests a catchy opening
for many home movie
films. The shadows of
moving people hint of
spectators entering a
footboll stadium; of
guests arriving for a
wedding or a party.
Made the initial scene
of a film, it arouses
more than ordinary in-
terest; gets the picture
off to a good stort.

W/ HATE VER type of film we set out to make
■ — scenario, documentary, a birthday party, or sim-
ply a record of our vacation trip — eventually we
are going to show the film to someone outside our
family circle — and when we do, we will have an
audience.

At the cost of millions, Hollywood has discov-
ered that audience interest is a fickle, capricious
thing; and in order to arouse that interest, films
must be built along certain lines. Excluding sub-
ject matter, producers of theatrical motion pic-
tures unanimously agree on three points. One, that
any motion picture should have an interesting or
intriguing opening; two, that there must be at
least one smash scene in the picture; and three,
that the picture must have a satisfying finish.
(The exception to this last, of course, are films
whose basic themes are tragedies.)

While it isn’t necessary to roll our car over an
embankment, or beat the Limited to the crossing
simply to get a smash scene for our vacation film,
it is possible to consider the first “must” of Holly-
wood producers and endeavor to give our film an
interesting opening. A good opening will set the
stage — put our audience in the frame of mind to
be entertained by what is to follow.

The opening or introduction to any film has sev-
eral well-defined functions. Usually it sets the
mood of the picture. It shm^ indicate to the audi-
ence that the picture to follow will either be som-
ber, serious, light-hearted, gay or downright hilar-
ious. This means, simply, that a film intended to
carry a serious message should never begin with

Hoss Madden Another function of the open-

ing is to set pace and tempo of the
story or idea to follow. A film opening with fast-
moving action and setting down later to a pace
considerably slower will surely disappoint. It is
far better to start slower, let our audience absorb
what is going on, then build to more exciting ac-
tion later. This pacing of our film holds good even
for a simple record of a day’s activities.

But perhaps the most important thing of all to
be observed in creating an opening is this; Start
yo-iir film as near the main action as possible.
Audiences are greedy for action, not for explana-
tions. It isn’t necessary to show how or when or
where we got the idea to do something — the pic-
ture should start the doing.

Suppose, for example, we are going to make
a record of our motor trip to one of the national
parks. However interesting and exciting the prep-
arations may have been to our family group, the
audience will be left “cold” by such scenes as pack-
ing the car, tracing the planned route on the map,
etc. Get right smack into the action and show
the family doing something — in new, unusual, and
exciting surroundings. If we have to get a shot of
ourself changing a tire, let’s get it where the cam-
era can pan over to the family showing them awed
by the spectacle of Old Faithful spouting, or some
equally impressive natural wonder — while we are
sweating and annoyed. If we use this shot for our
opening, we will have our audience with us imme-
diately.

Very often, in making films of this kind, it will

• Continued on Page 136

(Right)

COMBER

Silver crest of the wave and texture
of the surf make this an Interesting
marine study; also a fine title back-
ground for movies of sea, beach, or
seashore subjecfs.

Photo by Curtis Randall

120

[

J4.

aue

euer

Until youVe made your own,
youVe missed the full thrill
of cinematography

By Dr. A. K. Baumgardner

• Pictured above is
A-B-C of title making
for beginners. All thot
is necessary is access
to typewriter, a smoll
titler and a roll of pos-
itive film. Title is
typed on white cord,
placed in titler, and
photographed. When
developed, titles ore
block with text in
white.

The making of titles is a branch of cine-
matography so fascinating that many amateurs
would be content to devote all of their work to the
making of titles if only there could be some way
of getting picture material to support it. The aver-
age cinefilmer about to venture into title making
for the first time invariably finds much to work
with in the accumulation of untitled personal films.
Indeed, as we mentioned last month, there is more
to titling than merely splicing on a main title. Few
are the average home movies that do not need
added embellishment of subtitles to tie action to-
gether or to describe the action to audiences out-
side the family circle who may chance to see the
films.

The manner of making subtitles is varied. It
ranges from the simple and inexpensive “type-
written title” filmed on positive with the aid of a
typewriter titler, to the elaborate title made from
artistic hand-lettered title cards. Also there are
the many plastic letter sets now on the market
from which titles may be composed and easily pho-
tographed by any amateur. Most amateurs are
now familiar with the varrous means at their dis-
posal for composing titles as well as for setting up
camera for filming them, and a decision as to
which of these to use is generally a matter of dol-
lars and cents. We shall therefore leave the choice

of titling equipment in the hands of the reader.

We are now ready to consider the actual photog-
raphy of the title, and assuming that we are aware
of the title area and have the proper auxiliary
lens in place for the established distance, it next
becomes necessary to line up the camera so that it
is properly centered on the title. This is a step
which is eliminated entirely when the average
commercially made titler — especially the type-
writer titler — is used. Such titles are equipped
with the proper auxiliary lens and the camera base
in most cases provides for holding camera in accu-
rate alignment with center of title board.

It is also relatively simple to shoot titles without
a titling stand of any kind. To do this, all that is
required is to set the camera firmly on tripod or
other support and focus on title card tacked on the
wall Centering may be accomplished with the
title centering guide recently published in Home
Movies for your particular camera which offers a
simple means of whipping the parallax bugaboo.

For those not yet familiar with the term, “paral-
lax” is the discrepancy created by use of the aver-
age viewfinder at close range. While it is possible
to calculate the exact displacement between lens
and viewfinder, it is more practical to line the
camera up with the title board, using the center of
lens for the corresponding center of the title area
and then drawing the camera straight back the
required distance. To do this, of course, some sort
of frame or track or a home-made titler must be
used.

The next important step is lighting. The
photoflood lamps to illuminate the title card should
be placed so that the reflected angle is sufficiently
away from the lens, and this can be determined
only by the angle of incidence. In an earlier article
on lenses, we emphasized that the angle of inci-
dence is equal to the angle of reflection. Therefore,
to properly illuminate a title area, it is well to
place a light on each side of the title unless it is
desired to create a shaded effect.

Some text books allow for the use of one light
held directly over the lens of the camera, and the
results are fairly good, but the main criticism to

• Continued on Page 140

122

HOME MOVIES FOR MARCH

PAGE 123

m iniiE CURE

EIEIEIS...

Home movie films will last a lifetime if properly cared for. To insure long life
and maximum projection quality, they must be kept tree of dust; guarded
against scratching; and stored in suitable containers. Illustrated here are seven
tips which, if religiously followed, will insure maximum life for your films.

Most scratches on film occur during projec-
tion and are caused by dust and particles of
film emulsion lodging in film gate, scratching
film as it passes through. Best safeguard is
to clean gate of projector with soft camel’s
hair brush before threading each reel of film.
Where projector is equipped with detachable
pressure plate or where film gate assembly is
removable, same should be removed at fre-
quent intervals for cleaning of any deposit of
emulsion particles.

The slightest injury to a film — tears, dam-
aged sprocket holes, or poor splices — should
be repaired at once. Neglected, they can cause
greater damage. It may truthfully be said
that a repair in time may save nine. Slight
tears, occurring on edge of valuable footage
where dropping a frame or two in making
splice might inject a jarring note in the
smooth continuity of the scene, often may be
repaired by cementing a small patch of film
to cover damaged area.

Cinching of film during rewinding by stop-
ping, momentarily, the lower supply spool
with the hand is bad practice; results in cinch
or “rain” marks on film. Cinching causes dust,
gathered during projection, to be ground be-
tween layers of film, scratching not one but
t’wo surfaces at the same time. Film, normally
wound on reels, should be loose. If there is too
much film to allow full rewinding on one reel,
re-edit the reel to eliminate surplus footage,
or divide into two reels.

Humidifying films under certain conditions is
important. On the other hand, humidification,
improperly administered, may damage films
beyond repair. In dry climates, or during long
dry spells, black and white films should be
protected from drying out or shrinkage by
addition of about one-third teaspoonful of
humidifying solution or water to the humid-
ifying pad of humidor can, as shovm. Under
no circumstances should Kodachrome be pur-
posely humidified. Extreme humidity may
cause film to turn brownish in tone.

Scratching often starts in the camera. Guard
against this evil by cleaning film gate of cam-
era each time a new roll of film is used. Use
soft camel’s hair brush and work around film
aperture, brushing all dust completely out of
camera case. Do not use a sharp instrument
to dislodge fragments of emulsion that may
cling to pressure plate. Instead, use piece of
soft wood — an orange-wood manicure stick is
best.

Clean filrns as frequently as possible. Simplest
method is pictured above: A cotton glove
turned soft side out and worn on left hand
makes excellent film cleaner. Film is simply
run between fingers during rewinding proc-
ess. Where films have become oily or grease-
marked from projector, a drop or two of film
cleaner or carbon-tetrachloride on the glove
will quickly rid film of oil, dirt, and grime.
Liquid cleaner should be used sparingly on
Kodachrome.

Proper storage facilities are important to long
life of cine films. Films left indefinitely in
paper cartons in which they were returned
from processors, or in other non-air-tight con-
tainers, soon dry out; may shrink, preventing
smooth continuous projection. All films, black
and white or color, should be stored in regula-
tion humidor cans or raw film tins and prop-
erly labeled as to contents. With latter, small
square of blotting paper cemented to inside of
lid will serve as humidifying pad.

A special BEGINNER’S feature

TlllillTIlBlE

outfit anu amateur

can LuilJt ....

• Pictured above is
home-made dual turn-
table outfit assembled
by the author. Parts
cost about $20. Unit
is complete with am-
plifier, speaker, and
sufficient cable for use
in the average home
or small auditorium.
At right is wiring dia-
gram for sound and
power circuits.

P ROB ABLY the most important accessory
for tne movie amateur right now, and one which
manufacturers supplying the amateur movie hobby
seem to have overlooked entirely, is a compact,
portable, and low-cost dual turntable outfit which
will enable cinebugs to play music and sound ac-
companiment with their films.

So what do we amateurs do? We build our own!
And it’s a simple and fascinating job. Most, if not
all, of the necessary parts are obtainable from the
average radio supply house, and a few other items
such as the case and hardware may be had at the
variety store. Cinebugs in rural communities with-
out access to radio shops and variety stores can do
equally well purchasing the parts by mail. So you
see, no amateur who really wants a turntable out-
fit need be without one if he’s willing to build it
himself.

Last year the competition in our club’s annual
movie contest appeared pretty stiff. I knew that if
I were to finish anywhere in the money, I’d have
to have more than an ordinary picture — do some-
thing different. So I decided to add sound to my
entry with phonograph records. This meant I’d
need turntable equipment.

After pricing the dual turntables on the market,
I decided that for value received I could build my
own and save money. Besides, I wanted a very
compact outfit light enough in weight for me to
carry along with mv projector. The completed out-
fit is pictured on this page.

From a radio supply house I obtained all the

HOME MOVIES

FOR MARCH

Authored by j
Leonard Bauer, Jr. !

Philadelphia 8-16 Movie Chib I

necessary electrical parts, and these are listed be-
low for the benefit of those who may be interested
in assembling a set of dual turntables for them-
selves :

2 10-inch rim-drive turntables.

2 Crystal pickup heads.

1 Amplifier unit and speaker for same.

1 Fader control.

2 Midget toggle switches, panel type.

30 feet two-conductor shielded No. 16 wire.

30 feet two-conductor twisted No. 16 wire.

20 feet six-conductor No. 16 cotton braid cable.

20 feet rubber covered lamp cord.

1 6-prong male plug.

1 6-prong female receptacle.

The next important item was the case. For this
I purchased, from one of the popular dime stores,
a cheap suitcase measuring 16"x24"x8" ; also a pair
of trunk-type hinges. Up to this point my total
expenditures were approximately $20.

The first operation was the removal of the sound
amplifier and speaker from its cabinet. The speaker
connections were carefully marked or coded to in-
sure proper re-connection later. Next, the lid of
the suitcase was removed by cutting away the
hinges which were replaced by the trunk hinges
purchased for the purpose. These permitted the
lid to be detached entirely from the rest of the
case. The speaker was then mounted in the lid, as
shown in illustration. The grill from the amplifier
cabinet was mounted over the hole made for the
speaker, giving a finished appearance to this part
of the outfit.

The six-conductor cord was then joined to the
speaker connections, due care being given to the
coded markings previously identified for re-con-
nection. To the other cable was soldered the six-
prong male plug, but in this instance only four
wires were required for this particular speaker.
The remaining two served as spares for future use.
The next step was to reinforce the body of the

• Continued on Page 146

124

(

HOME MOVIES FOR MARCH

Authored by
George W. Cushman

20tk Century-Fox

^our

movie

Of all the laugh-provoking mediums used
by Hollywood movie producers, the running gag
is probably the most successful and certainly the
easiest for the amateur movie maker to employ.

Webster’s defines a gag as : “A joke. An offhand
interpolation by an actor in his part.” A running
gag, in the parlance of the movies, is a bit of com-
edy that runs throughout the picture, often ending
in a surprise climax in the closing scenes.

One of the most successful examples of the run-
ning gag appears in 20th Century-Fox’s “Tin Pan
Alley,” currently showing in theatres throughout
the country. Jack Oakie and John Payne are two
struggling music composers. Oakie has developed
a catchy melody for which he searches vainly for
a lyric. Early in the picture, title of the song is
“Hawaii, Beautiful Hawaii!” The lyric fails to
click. Oakie rewrites the words, this time chang-
ing the title to “Ireland, Beautiful Ireland I” which
also falls flat. Other lyrics are tailored to the mel-
ody, subjected to the critical ears of the office jan-
itor, and then abandoned. Throughout the picture,
Oakie struggles vainly to compose the lyric that
will make the song a success.

In the closing scenes, Oakie and John Payne are
embarking for France, and their girl friend Katy
comes down to see them off. Oakie falls from the
pier into the chilling waters of the bay, and of
course is promptly rescued. As he proceeds up the
gang plank, shivering and chattering in his wet
clothes, he turns to wave goodbye to Katy. “G’bye,
K-k-k-katy . . .,” he says, and then like a flash
inspiration comes to him to put the stuttering
words of “K-k-k-katy” to the melody for which
he has been seeking a lyric. And that is how the
popular tune of some years back was supposed to

KUDDIIIi; GOG

• • •

have been born. Fictionized in this manner, it pro-
vided most of the comedy in the picture.

There have been some outstanding examples of
running gags in amateur movies, too : “New Eng-
land Holiday,” by Albert Watts, and Bruce John-
son’s “Checking Off the Budget,” both honored as
Movies of the Month by Home Movies magazine.
In the former. Watts interpolated frequently a
closeup of a girl eating a hot dog. The picture was
an account of two couples’ vacation trip to New
England. While other members of the party were
engrossed in viewing the scenery, preparing lus-
cious meals over a campfire, or participating in
one of those traditional New England clam bakes,
this girl remained aloof — munching a hot dog!

Bruce JOHNSON’S running gag was equally
clever. His picture also concerned a vacation trip,
and “Mr. Budget” is shown at the beginning of
the picture setting up a budget for the trip. How-
ever, as he proceeds on his trip, there are frequent
cuts to “Mr. Budget” revising his budget — writing
in a $5.00 expenditure over a budgeted figure of
$2.00, etc. This continues throughout the picture
until “Budget” becomes disgusted trying to make
expenditures tally with his “planned economy.”
The budget sheet is abandoned, torn up and thrown
by the roadside.

The action of which the running gag is com-
posed need not necessarily be comical. It is the

• Continued on Page 134

• When you laugh at a
movie today, it is usu-
ally because Hollywood
threaded a clever"run-
ning gag" throughout
the picture. Outstand-
ing example is the gag
in "Tin Pan Alley";
Songwriter Jack Oakie
struggles to compose a
lyric for a tunc. Given
many names, it even-
tually becomes "K-k-
k-katy." Action inci-
dent to Oakie's rewrit-
ing of lyrics furnished
comedy moments that
made this picture a hit.

125

• At left are two
scenes from "They Dis-
cover Americo," o more
than ordinary docu-
ment of the New York
World's Fair. This pic-
ture is notable for its
snappy photography
and many interesting
scenes overlooked by
other World's Fair
cinematographers.

3iL R[VI[1US ikal

ntain

icL

ea or

• Below is scene from
"Retribution," 3 -stor
8mm movie reviewed
in this issue, and at
right, a scene from
"Dolly's Dilemmo," a
16mm production also
reviewed here.

Reviewing of amateurs’ films by Home
Movies’ technical staff serves two objectives: first,
it gives the conscientious filmer the honest and
constructive criticism he desires ; and, second, the
reviews printed each month invariably contain
ideas and suggestions that are of benefit to other
filmers.

Any amateur, whether or not a subscriber to
Home Movies, may avail himself of its free criti-
cism service. His film will be reviewed and rated
one, two, or three stars. An animated leader, in-
dicative of the rating, is then attached and the film
returned, together with a detailed review and
criticism.

The best film reviewed each month is selected
for the Movie of the Month and described with

HOME MOVIES FOR MARCH

illustrations in a special article in Home Movies.

Among the interesting films reviewed during
the past month are the following:

"THEY DISCOVER AMERICA" ★★★

700 feet '16mm — By J. L.

Continuity : This is another film of the New
\ ork World’s Fair, but it’s a good one ! Two things
m.ake it more than an ordinary picture : first, this
filmer gave the picture a reason for existence by
making it a story of two boys visiting the Fair and
showing, virtually through their eyes, the many
interesting things they saw ; second, fine, snappy
editing does much to sustain interest right up to
the final scene.

The two lads are cut in occasionally, but briefly,
and each time they are doing something different.
In other words, they don’t just walk into the scene
and gawk. They’re either walking, sitting, point-
ing, or eating ice cream cones, etc.

Most shots are not over five seconds in length.
Some are shorter. The only time a scene is given
more footage is when interesting action requires
it. Seven hundred feet of film with the average
shot less than five seconds in length means this
filmer has approximately 350 separate scenes in
his picture! Some are merely a different angle of
a preceding scene, or a closeup following a long or
medium shot. But with this type of picture, fre-
quent changes of camera setup are very important
to maintain interest.

Another feature of this picture is that it includes
scenes of so many things overlooked by others who
filmed the Fair. This filmer evidently took time to
explore the Fair thoroughly, getting the lay of the
land, before bringing his camera into action. So
many Fair filmers did not, with the result they ran
out of film before shooting some of the most inter-
esting sights and exhibits.

Photogra'phy : Notable is the consistently good
exposure throughout this picture and the fact the
camera was held firmly on every scene. Scenes are
well framed for composition, and good angles are
frequent.

Editing: As already hinted, this is the strong
feature of this picture. Every scene is kept to min-
imum footage, and only the action shots are al-
lowed to run for any length of time.

Titling: Titles are brief and to the point and
sufficient to carry the story along interestingly.

Equipment: Bolex 16mm camera equipped with
Dallmeyer 15mm f/1.5 and Hector Rapid 1" f/1.4
lenses ; exposure meter ; Bool Cine Fader ; and an
Eastman Pola Screen.

"RETRIBUTION" ★★★

100 feet 8mm — By W. J. B.

Continuity : It’s all about a “moidah.” The pic-
ture opens with a man entering the scene, brief-
case in hand. Obviously a merchant, he has just
entered his home, with the day’s cash receipts in
the case. As he counts out the
cash, he is startled by a sound
at the front door. A closeup
shows the door knob turning
slowly, evidently by someone
on the outside. The man con-
tinues checking the cash. Pres-
ently a hand bearing a revol-
ver is thrust in front of the
man. Startled, he looks up into
the menacing eyes of a bandit.

a Continued on Page 145

126

^^ocumentafu

lJuiTE a number of amateurs in recent
months have achieved notable success producing
civic documentary films. One’s home town is so full
of interesting filming possibilities when viewed
from the documentary angle, it is obvious many
serious-minded filmers, eager to do something
“important” with their cameras, are overlooking
the very opportunities they seek.

In making a documentary film of the civic activ-
ities of one’s city or town, there is opportunity to
serve one’s community in addition to the pleasure
to be derived from making the picture. In many
cities, for instance, the need for instructional films
on the subject of Safety has furnished incentive
for amateurs and amateur groups to produce docu-
mentaries which brought the producers consider-
able prestige and, not infrequently, cash remu-
neration.

Then there is the city or county government, the
operation and ramifications of which are all too
little understood by the average citizen, just wait-
ing for its activities to be recorded on film. And a
very interesting film it can make, too, whether it
be the city of New York or Thermopolis, Wyo.

Such a filming accomplishment is “Home Town,”
a documentary of the city of Fresno, Calif., pro-
duced by West W. Champion of that city, and hon-
ored as the Movie of the Month for March by the
editors of Home Movies. Filmed in 16mm black
and white, it runs 1600 feet in length.

The Public Works Department of Fresno has
for many years used still photography as a means
of keeping progressive graphic records of all its
principal projects. From these pictures, from time
to time, enlargements were made and mounted on
placards. These have been displayed in many cities
on the West Coast and in the Fast. They have also
proven of great benefit in enlightening Fresno
residents on department activities, and are con-
tinually displayed for this purpose in the foyer of
the Fresno City Hall.

From this the idea came to Mr. Champion that

BlJ .1. H. SCHOEN

a movie film based on the same subject material
might be useful in showing the city’s activities to
the public and to school children in more complete
detail than was possible with still pictures. Also,
a permanent record of the period would be pre-
served. The plan was laid before the Commissioner
of Public Works, who gave unanimous approval
and arranged for full cooperation by all branches
of the department.

fHE picture begins with scenes showing the
many transportation facilities afforded to and from
Fresno: air lines, railroads, bus transportation,
and the fine paved highways which lead into the
impressive business district and thence through
the residential section. At this point we are shown
the progress of the city — the construction of new

• Conthinfd on 142

• Above ore enlarge-
ments of 1 6mm frames
from "Home Town,"
on amateur produc-
tion selected as the
Movie of the Month
for March. Over a year
in the filming, final
editing of the picture
was only recently com-
pleted. Pictured below
in characteristic pose
is West W. Champion,
who produced the film.

127

(iucamnai ^ ^ccumentatif junu

SECTION

HOME MOVIES FOR MARCH

• Tact and diplomacy beget cooperation in se-
curing pictures from otherwise difficult sources.
In one instance, tactful handling of custodian
of one Colonial landmark brought assistance of
porter and lights in the filming of famous por-
traits.

teacher d vacation ^iimin^ pianned

for

CLHimilllOlll

ude

• • •

By George W. Cushman

‘T

J. EACHERS can do their schools
a great service by filming their vacation
movies from an educational viewpoint
and then using them later in the class-
room.” This statement was the essence
of an address given before the Iowa
State Teachers’ Convention recently by
Fred A. Pennington, Des Moines Junior
High School history teacher.

“Practically every teacher these days
takes a camera along on summer trips,
primarily to record the places visited
and experiences encountered. Many of
these cameras are movie cameras, and
with a very little change, often no change
at all, the scene can be made useful in
future teaching, while at the same time
serving as a personal movie diary of the
trip.”

Mr. Pennington uses both movies and
stills in his vacationing. “When there is
no action in the scene, I use my minia-
ture camera, but where there is any kind
of action at all, the cine is put into use.
The miniature camera is good where
long study of a subject is required, since
the slide can be left on the screen for
minutes at a time, but this is usually off-
set by the ability of the movie camera to
give better comparison of size, dimen-

sions, etc., by panning the camera slowly
from top to bottom, side to side, and get-
ting depth through action.”

Students show greater interest in pic-
tures which have been shot by the teach-
er, Mr. Pennington has found. Obvi-
ously, the teacher can better answer
questions about pictures he himself has
made than about those rented from film
libraries. Also, Mr. Pennington fre-
quently uses his material to supplement
rented films for the reason it often sup-
plies data and visual information omit-
ted in the commercial films. Because the
teacher has seen the places and visited
the people, the subject is much closer to
the student and his interest is height-
ened.

“Expert photography isn’t absolutely
essential in good films of this kind. A
good rendition of the subject is the main
thing, for students as a rule are not too
critical of photography. Of course, the
teacher should try to make as good a
picture as possible of the subject, but he
needn’t let a slightly inferior slide or
length of^m keep it from delivering its
lesson to the students.”

Mr. Pennington emphasized that teach-
ers who take pictures with this view in

mind are doing the small school a great
service. “Many of the smaller schools do
not as yet have an elaborate visual pro-
gram, and teachers are helping immeas-
urably to promote this system by using
their own films in the classroom.” He
also revealed that another teacher in the
same school was now taking pictures for
classroom work. Recently they arranged
to make pictures for each other to be
traded between classes during the school
year. “If every teacher in the school
would do this very thing, just think how
soon the school would have an extensive
visual library,” Pennington added.

In HIS several summers of doing
this type of picture taking, Mr. Penning-
ton has found several pointers which he
passed on to those attending the national
convention. “School teachers who are
taking pictures for educational use will
often find themselves admitted to other-
wise closed places. Many times just the
mention of this fact will result in unus-
ual filming privileges. Tact and diplo-
macy must often be resorted to and the
observing teacher will soon find there is
a technique to the right approach.” Mr.
Pennington related one of his experi-
ences in this connection.

“While traveling in the South last
summer, I wanted some interior scenes
in Betty Washington Lewis’ home in
Fredricksburg. When the attendant an-
swered the door, I stated my mission
and met with a rather cool reception.
When I tactfully hinted the pictures
were for the students of my class, I was
cheerfully admitted. When I explained
that, for the pictures I wanted, the light
wasn’t quite bright enough, the attend-
ant called the porter and told him to get
a floodlight they had in the basement,
and to assist me in every way he could.
This was perhaps a little exceptional,
but it does show how a little tact will
provide a key to otherwise locked doors.

“Another experience of this kind hap-
• Continued on Page 144

o Below is one of many scenes filmed of
small tobacco fields operated by tenant farm-
ers of the South. Having actually filmed it,
teacher was better qualified to describe scene
to students.

128

HOME MOVIES FOR MARCH

iwcathnal tr J^ccumcHtatif

SECTION

U.o( r*ecorder6

^CtUtUT^ • • .

Home recording units now on the mar-
ket are making possible further experi-
ence among school groups experimenting
with actual synchronized sound films.
Sound-on-film cameras are not as yet
popular among student groups, but the
low expense of disc recording is ex-
pected to grow rapidly among amateur
groups.

One producer advertises synchroniza-
tion with the camera and projector
through use of his recorder and added
improvements. Also, home recorders are
useful to make a commentary along with
the film where no attempt at synchroni-
zation has been intended.

The use of records as a teaching aid
in correct pronunciation is also rapidly
gaining in popularity. The student’s
voice is recorded and played back so that
he may hear his own mistakes and cor-
rect them.

dented via 16mm

Treatment of many stage plays when
made into movies differs so slightly that
motion is lacking and the movie is mere-
ly a stage play on the screen.

Intention of this very thing, however,
was the desired result by Fox Movietone
recently when they filmed Maxwell An-
derson’s stage play “Journey to Jerusa-
lem” exactly as it was presented on the
stage, complete to curtain raising and
lowering between acts. Shooting was
completed in four days exactly. Careful
camera technique and exceptional light-
ing presents a favorable presentation of
the stage play.

Should the venture reecive a good re-
ception, producer Joseph Poliak intends
to bring more plays to the public via
16mm sound film.

^^merica iocaie
for documenlaried

Current trend in professional produc-
tion is along South American lines due
to foreign markets being closed because
of the war. Films with South American
themes such as Down Argentine Way
may be expected to continue throughout
the winter and spring.

With this trend in mind, Armand
Dennis (Dark Rapture, Wheels Across
India) is reported to have left for South
America on January 15 to complete ar-
rangements for his next production

there. He intends film to have both docu-
mentary and entertainment value, dis-
tribution to be made by one of the major
film companies.

Dennis, deft at handling primitive
people appearing before his cameras, de-
scribes his technique used wdth the pig-
mies in Dark Ra^^ttire: “The ordinary
procedure with explorers is to either
make a big show for the pigmies or try
to show them the superiority of the
white man. Sometimes fear is used.

“In filming Dark Rapture we used ex-
actly the opposite psychology. Arriving
in the land of the little fellows we noticed
them at once scurrying off into the
woods to hide, and, also, to get their
spears and prepare for war, if war it
was to be. We pretended not to have
noticed them. We went about setting up
out tents and other equipment and pro-
ceeded to enjoy life as though no one
was around. Soon they put in an ap-
pearance, one by one, but still we made
no motion which would show we had
seen them. Finally they became curious.

“Usually the white strangers had made
the offensive, but our strategy was to
let the pigmy bring about first contact.
Finally they knew we saw them, but still
we gave them nothing more than an un-
concerned look. Convinced we meant no
harm, their curiosity got the better of
them. They came out of their hiding and
proceeded to obtain our good-will, pre-

paratory to learning what was in our
equipment.

“We let this go on for two or three
days, slowly becoming fast friends with
these little fellows. Instead of our being
their guests, they were ours. Rather
than getting them to entertain us, we
entertained them. Finally all barriers
were broken and we were one of them.
From this time on we used our cameras
freely and recorded for the first time
many new episodes in the life of the
pigmies.”

♦ ♦ ♦

a^ocumenlurt

fil,

m programi

The Institute of Arts and Sciences of
Columbia University and the Associa-
tion of Documentary Film Producers are
sponsoring jointly a series of documen-
tary film programs concerning world
problems as they are today. The series,
called “Living History,” presents pro-
grams on alternate Monday nights at
the McMillan Theater at Columbia Uni-
versity and includes And So They Live,
dealing with life in the Kentucky hills ;
Youth Gets a Break, a film built around
the NYA; Power and the Land, dealing
with rural electrification, and similar
subjects.

♦

fjeu,

Land of Liberty

M-G-M release of production spon-
sored by the Motion Picture Producers
and Distributors Association. At pres-
ent available only to theaters; non-the-
atrical plans not yet announced.

The motion picture industry’s contri-
bution to the New York and San Fi*an-
cosco World’s Fairs was two and a quar-
ter hour historical movie made up of
stirring scenes from motion pictures
produced by the major and minor film
companies in the past 25 years.

Thousands who saw the film asked if
it would be exhibited later at home. In
reply, the film industry has cut down the
initial footage to feature length and is
releasing it for showing in the nation’s
theaters.

Cecil B. DeMille served as editor of
“Land of Liberty,” which includes over
a hundred well-known stai-s from as
many productions. James T. Shotwell of
the Carnegie Endowment for Interna-
tional Peace supervised the historical
aspects, keeping the film from becoming
a propaganda medium. The result is one
of the greatest historical film documents
of our time.

In a thrill-packed hour and forty min-
utes the picture sketches American his-
tory from the time of the first settlers
through the important periods and up to
the present day.

♦ ♦

eleadeS

Every school child and student of
American history should see the picture.
Wise school superintendents will dis-
miss class when the film is shown so that
pupils may witness this deft cavalcade
of Americanism. Many of them will
grasp more from the movie than hours
from the text book.

The film has its rough spots, and at
times the action is pretty strong for
young minds, but the impressions gained
more than make up for these detriments.
The continuity runs surprisingly smooth
considering the way the film was assem-
bled. All profit on the picture will go for
war relief in Europe.

Journey To Jerusalem

Produced and released by Theater-on-
Film, Inc., 1619 Broadway, New York,
N. Y. Motion picture of the stage play.
16mm sound ; 90 minutes.

This is the first of a contemplated
series of successful Broadway stage
plays filmed exactly as produced on the
stage. Written by one of America’s
greatest playwrights and Pulitzer Prize
winners. Maxwell Anderson, the story
concerns a Passover pilgrimage to Jeru-
salem by young Jesus and His family;
His trouble in getting through the gates
at Jerusalem, and His eventual recogni-
tion as the Messiah.

• Continued on Page 147

129

PAGE 130

>"x 32.THREAD,

:|jX 32, THREAD

J2"

Lens Adaptor

The accompanying sketch gives details
for making a lens adaptor that will en-
able owners of Univex cameras to use
other 8mm camera lenses such as those
for the Keystone and the Revere. It can
be turned out of brass or aluminum by
any machinist and the cost should not
exceed $1.00.

This adaptor also makes it possible
for the Univex owner to purchase stand-
ard mount lenses which he may use later
on a better camera. The adaptor proved
very useful to me, as it made it possible
to use better lenses on my Univex for
making titles, etc.

Here are the dimensions : Overall thick-
ness, .234 inches ; hole for Keystone lens,
% of an inch, 32 thread cut .117 deep ;
hole for mounting on Univex, .400 of an
inch, 32 thread cut .117 deep. Outer rim
is knurled. Overall diameter, % of an
inch.

— I. W . Filltngham.

New Use for Polaroid

When color films appear too red, a
Polaroid filter placed in front of the pro-
jection lens will greatly improve color
quality. In fact, I found the use of a
Polaroid filter improves 80 per cent of
the films — both black and white and
color — that I have projected through it
and this includes films considered per-
fectly exposed.

Also, the use of a Fade-O-Scope (an
arrangement of polarized filters) in
front of the projector lens permits regu-
lating intensity of light so that over-
exposed films may be projected quite
satisfactorily.

— Adclberf Jones.

Ideas not published will be held for future
publication unless they duplicate ideas pre-
viously received. Endeavor also to send along
photos or rough sketches illustrating your
suggestions. There is no limit to number of
suggestions you may submit.

Important: When submitting ideas, be sure
to mention whether equipment you use is
8mm or 16mm, enabling us to promptly for-
ward awards adaptable to your use.

THE [HE

Nan-slip Tip

Amateurs experiencing trouble with
drive belt slipping on the grooved pul-
leys of the projector may remedy this
fault by applying a strip of electrician’s
friction tape in the groove of the pulley,
forcing it snugly into the groove with
point of a pencil or screwdriver. Any
ragged edges that may develop on the
tape may be trimmed with a razor blade.
The tape will last for several hundred
projections before requiring replace-
ment.

— Robert C. Davis.

Hypersensitizing

Any amateur can obtain all the equip-
ment necessary for hypersensitizing
movie films with mercury from his neigh-
borhood druggist. Required is an air-
tight container and a small amount of
mercury. The druggist can supply a half-
pound size china ointment jar with
screw cap — the type with the rounded
inside bottom as shown here. Cut a disc
of cardboard so that it fits snugly about
half an inch from bottom of jar, as
shown in sketch. Punch disc full of holes.
Paint inside of jar with flat black paint.
When paint is dry, place a drop of mer-
cury about the size of a pea in bottom of
jar, replace perforated disc, and place
roll of film in jar, standing it on edge on
disc as shown.

In spite of the fact that I always fol-
low recommended exposure for type A
Kodachrome, my pictures are usually too
dense for good projection. Now I hyper-
sensitize the film after exposure by plac-
ing it in jar and leaving it there for 50
hours with the lid screwed down tight.
Results on screen are splendid. Faces of
subjects that heretofore appeared a red-
dish brown hue are now a true flesh color
and my color pictures as a whole are
brilliant and full of true color tones.

— David H. Thomas.

Frami^DunlGr

Because the frame counter on the side
of my Eastman Cine Special is so small
and moves so rapidly, I found it difficult
to read the dial as it revolved. A knowl-

HOME MOVIES FOR MARCH

R I M E nu

edge of the exact number of exposed
frames being necessary in rewinding for
fades, dissolves, and other trick shots,
I solved my difficulty in the following
manner :

The square winding nut on the Special
revolves once for every 40 frames ex-
posed, the same as does the frame coun-
ter. I made a cardboard disc, as shown,
4 inches in diameter and calibrated it
from 1 to 40 around the edge. Then I
had made a spring clip 1/2 inch long
which would slip over the winding nut
by means of holes cut in the open ends
of the clip. A tab cut at the center of the
cardboard disc provides a simple way of
fastening the disc to the closed end of
the clip.

The spring clip is a piece of bent spring
metal % inch wide. The two open ends,
which are bent toward each other, each
has a hole cut slightly larger than (4
inch square which is the size of the wind-
ing nut. By pinching the ends of the clip
together, the holes come into line and
slip over the nut. Very little tension is
required to support the weight of the
cardboard disc, and the ease of reading
the frame numbers is greatly increased.

— J. O. M. Van T assel.

Camera Handle

The use of a handle attached to any
cine camera permits a firmer grip to be
taken on it and makes for steadier pic-
tures. I found the wooden handle of a
popular priced coping saw had a
threaded screw that fitted perfectly the
threaded opening in the base of my cam-
era. At the bottom of the handle, I fitted
an ordinary screw-eye to which I at-
tached a wrist Iooid of leather.

Keeping the camera -holding hand
away from the front of the camera in
this way solved my problem of inadver-
tently placing my fingers or hand before
the lens while shooting.

■ — 0. .J . Kimbrough.

I HOME MOVIES FOR MARCH

c I n

0 R K $ H 0 P

I Tripod Dolly

j Sketch shows construction of a simple

I portable tripod dolly that can be knocked
down in a jiffy and carried with tripod.

I There are no screws or bolts to get lost

i j and it may be assembled into a rigid unit

I j in less time than it takes to tell it.

■ ' Three pieces of wood finished lV2”x2"

I I are machined as shown. Care must be

ii taken so that member “A” fits accurate-
ly, thus holding the remaining two mem-

j bers firmly in place. Ball bearing casters
are fitted to the longer pieces, and these

j should be of good quality to insure a
smooth movement of the dolly.

/ The recesses, shown at “D” in sketch,
are made with brace and extension bit
and provide anchorage for tripod legs.
Further rigidity may be insured by tying
I down camera by means of a rope or cord
I from tripod head to center of dolly or by
cinching each leg separately by means
1 of a short length of cord which may be
attached at each corner of the dolly for
this purpose.

^ — R. Shull.

Footage Guide

I Persons not content with the film foot-
' age meter on Eastman Cine-Kodaks,

I models Nos. 20, 25 or 60 can determine
the exact point where the leader ends

'i and the film starts by letting the spring
! motor run down completely while the
j camera is empty, thread the new roll of

II film through the upper part of the
sprocket wheel with the end in the gate,

j directly in back of the lens. Wind the
j[ spring motor with eleven half-turns and
j depress the starting button to run off
I' enough film to complete the threading of
|! • the film, fastening the end to the take-
up spool. Then run the motor for a sec-

I ond or two to make certain that the
loops are maintained, close the camera
and allow the spring motor to run down

II completely once again. When this has
'I been done the 3i/^ feet of leader will

have been run off and the film will be in
1 position to take pictures without having
•i to wonder whether or not all the leader
I has been run off.

;! The starting point on other make cam-

eras can be determined readily by de-
termining the number of revolutions of
the sprocket wheel to each turn of the
winding key, then counting the number
of teeth on the sprocket wheel. Multiply
the number of teeth by the number of
revolutions per turn of the winding key
and divide the result into 280 which is
the number of frames in 3V-> feet of
leader.

If the camera lens is removable, the
exact starting point can be determined
by watching the film through the lens
aperture. The perforations in the cen-
ter of the film indicate the point where
the leader ends. These perforations are
just at the front end of the film so do not
try to find them after the reel is half ex-
posed and has been turned over to ex-
pose the other half of double-run 8mm
film. Incidentally, use the slowest cam-
era speed in looking for these perfora-
tions, lest they slip past unseen, thereby
fogging the film.

— ]\I. J. Y eoman.

Processing Tray

A low cost tray for processing home
movie films, one that requires a mini-
mum of solution, may easily be made by
the amateur by following accompanying
plans. The pieces “A” and “C” are made
from half-inch pine. The radius of the
rounded edge of pieces “A” will depend
upon the radius of the drum or rack to
be used.

The tray is formed by tacking a piece
of horn fiber on the rounded edges of
members “A” as shown in Fig. 2. The
horn fiber should be soaked in water for

about five hours to soften it sufficiently
for bending. After fiber has been tacked
to the rounded end pieces, the two side
supports “C” are nailed to the ends as
shown in Fig. 4.

. The whole unit should then be given
two coats of acid-resistant paint.

— Geo. C. Jrnkin.

Fading Device

Making fade-ins and fade-outs by
opening or closing the lens iris is simple

PAGE 131

tricLd and
sLort cuts contributed
C^inebi

and effective with the average cine cam-
era provided some means is attached to
the lens for moving the iris ring while
operating the camera.

A very practical iris control lever may
be quickly made from a short length of

spring wire as shown in the sketch. It is
bent to fit snugly around the iris ring of
the lens and the two ends are formed so
they lock, similar to a safety pin. The
lever is instantly removed by unlocking
the ends which release pressure of the
holder around the iris ring.

—W.D. Garlock.

IGmm Enlargements

I find that the best way to make satis-
factory enlargements of frames of 16mm
film is to follow the established method
of photographers — first make a nega-
tive. To do this, select the frame you
wish enlarged. Using a small section of
positive film, make a contact negative
by inserting the two films with emulsion
sides together in an ordinary printing
frame. If a printing frame is not avail-
able, place the films between a piece of
cardboard and a panel of glass and give
a quick exposure, using a 25 watt lamp
at a distance of about two feet.

Develop the positive film “negative”
in a fine grain formula for best results.
Place the negative in an enlarger.

After the positive film “negative” has
been developed in a fine grain formula,
it is ready for making enlargements. I
used a regular miniature enlarger for
this and got good 5x7 prints. Amateurs
who do not have enlargers will find their
photographic dealer will make enlarge-
ments at nominal cost. 1 find this method
less expensive than projecting the image
direct on a piece of cut film, and my
prints are of maximum sharpness.

— George Burns.

PAGE 132

HOME MOVIES FOR MARCH

r* came*-®”*®"

r— ""

svij/s Ihiniel fi Clarli

executive director (d photogrcipliy
20tli CENTllIVY-FUX FILM COhl'.

Choose “the new G-E” as the experts do,
and get perfect pictures, thrilling color,
sparkling movies . . every exposure correct.
You’ll enjoy rapid one-hand operation; ex-
treme sensitivity and accuracy . . in dim light
yon use the new sujtersensilive “incident
light ’method; protection from loss of shadow
detail or color . . no excess pick nj) of sky,
snow, or water; 3 meters in 1 . . for perfect
exposures, for ilinminalion control, for
better printing, enlarging. Sold at good
photo dealers everywhere. General Electric,
Schenectady, New York.

ASIi FOIV THE ''NEW G-E"
(lET 3 ZnETEliH IN I

YOUR THRILLS BEGIN WHEN YOU PICK IT UP!

shots and montag^ed .

• Continued from Page 117

the film, only the scene
which shows through the
hole in a black mask will ac-
tually be photographed, and
the rest of the film which
was masked off can be pho-
tographed again, provided
the part already exposed is
covered up by another mask.

W ith this knowledge we
can proceed to make a mon-
tage shot with four differ-
ent pictures on the screen at
once, one in each quarter of
the frame. Cut one quarter
out of a blank mask, as
shown in Fig. 3, and put the
mask in position, say, 4" to
6" in front of the lens. Then
make a note of the reading
on the footage indicator, as
the film will have to be
wound back to the starting
point for the other shots.
Another method of marking
the film is to open the cam-
era in a dark room and mark
the starting point with a
notcher, or by cutting a
small “V” in the edge of the
film with sharp pointed scis-
sors. Then, with the mask
in place, frame the scene in
the quarter of the viewfind-
er which relates to the posi-
tion of the hole in the mask.
We can panoram or tilt if
we wish while filming the
scene but must bear in mind
that all four scenes must be
of the same length, and
therefore the shots must be
timed for a definite number
of seconds.

Next back-wind the film
to the starting point and
change the mask so as to
expose another quarter of
the frame. In this particu-
lar instance we can use the
same mask for all four shots
simply by turning it over or
around. Repeat the opera-
tion for the next scene, and
so on until all four shots are
taken. The result will be
four different scenes on the
screen at one time in differ-
ent sections of the frame.

By setting the mask fair-
ly close to the lens the four
pictures will blend together
without any distinct divid-
ing line. This is a simple
form of montage. After
some exp'erTence one can
make such shots with any
number of scenes, and any
kind of shapes for the
masks (Fig. 4),

A true montage is where
two or more pictures appear
to overlay one another. The
method would depend upon
the effect desired, and the
subject matter of the shot.
Masks could be used in such
a way that parts of one pic-
ture would be double-ex-
posed on parts of another
picture; that is to say, the
masks could be placed so
that part of the opening in
one of them would cover
part of the area of the open-
ing in another.

A good montage is usu-
ally a result, not of photog-
raphy alone, but of artistry.
A successful montage de-
pends upon the choice of
pictures to be used in it, and
the arrangement of them,
as well as the conveyance of
a meaning; photography
plays but a minor role.

To come back to the type
of shot where there are four
pictures — one in each quar-
ter of the frame, as previ-
ously described — there is
one important thing to bear
in mind, i. e., that all expos-
ures should match. None of
the four shots should be
over-exposed, or under-ex-
posed, in relation to the oth-
ers. An exposure meter is
useful in this case to bal-
ance the shots. Compensat-
ed processing, as used by
the processing stations of
the film manufacturers, will
not correct exposure errors
in a case like this, unless
the same error occurs in all
four shots, that is to say,
unless they are all over-ex-
posed to about the same ex-
tent, or all under-exposed.

Exceptional films qualifying for

• •

While it is not absolutely
necessary, it is well to have
the lens hooded between the
lens and the mask, in order
to insure that no light is re-
flected from the black part
of the mask into the cam-
era, as even black will re-
cord on the emulsion of the
film if light is reflected from
it at certain angles.

Some high-priced cameras
are especially equipped for
masking between the lens
and film, that is, the masks
fit behind the lens; and al-
though such masks are pre-
cision made and very accu-
rate where clean-cut mask-
ing is required, for other
purposes the system of
masking in front of the
lens, while more cumber-
some, has many advantages.
With the latter there is a
certain amount of control
over the sharpness of the
edges of the mask, and it is
also easier to make addi-
tional masks as required. On
the other hand, it has the
disadvantage of requiring
different sized masks for
varying distances between
lens and mask holder.

Important to remember is
that in masking in front of
the lens the mask is placed
in the same position as we
see the picture, whereas in
masking behind the lens the
mask is reversed. That is to
say, to mask off the left half
of the picture, the mask is
placed to the left if it is
in front of the lens ; to the
Hght if placed behind the
lens.

the distinction of the "Movie of
the Month" will be treated in de-
tail in a feature length article in
a following issue of HOME MOV-
IES. In addition, a certificate evi-
dencing the award of "Movie of
the Month" and a special ani-
mated "Movie of the Month"
leader will be returned with such
films offer review.

HOME MOVIES FOR MARCH

PAGE 133

Will. ADVANCED

metd . . .

Money Waiting!

Unbeknown to the ama-
teur filmer, a Hollywood
motion picture studio is pre-
pared to pay handsomely
for the original 16mm Ko-
dachrome movies which he
filmed of a volcano eruption
in Hawaii. A copy of the
sensational footage found
its way into the projection
room of a Hollywood film
laboratory where sat a
biggie from the interested
studio. In transfer of own-
ership of duplicate print,
filmer’s name and address
became lost in the shuffle.
But there’s a nice check
waiting for him, once he’s
located, a task which the
studio is exerting every ef-
fort to accomplish.

Films China Conflict

With the active aid and
cooperation of the British,
Rey Scott, explorer and lec-
turer, recently made some
of the most thrilling 16mm
Kodachrome movies of the
war in China ever to reach
the screen.

Some of the most sensa-
tional scenes have been pur-
chased by a major Holly-
wood studio, and will be en-
larged to 35mm for a se-
quence in a forthcoming
production built around the
Burma road incident.

The remainder of the foot-
age has been edited into a
highly interesting lecture
film soon to be taken on a
tour by Scott.

History of Bread

Paul Hoeffler, California
scientist and explorer, is
busily engaged editing and
titling the initial sequences
of a 16mm Kodachrome film
which he is producing on
the history of bread mak-
ing. Film depicts the mak-
ing of bread from earliest
Indian methods to present-
day scientific factory meth-
ods. Pictured in detail is
manner Indians cultivated
corn, reduced the grain to
flour, and method of baking
the bread in primitive clay
ovens. In contrast will be
sequences yet to be com-
pleted showing how the
modern-day loaf of bread is

turned out in volume pro-
duction by large baking in-
stitutions.

When completed, prints
will be available for distri-
bution among schools and
other interested groups.

Bird Life

Ed Harrison and Frances
Roberts of Los Angeles, are
producing a series of 16mm
films in color on bird life
for educational purposes.
First episode deals with life
of the Golden Eagle and
shows habitat of this ma-
jestic of all Eagle species
building nest, and rearing
young.

Production of entire series
will take the couple into
practically every state in
the Union and into Canada
and Mexico.

Switches to 16

Herman Bartel, New Ro-
chell. New York, amateur
whose 8mm Kodachrome
picture, “Angels Are Made
of Wood,” won the Lloyd
Bacon Trophy in Home
Movies’ 1940 Amateur Con-
test, recently traded his
8mm equipment for 16mm.
A prominent commercial
artist, Bartel’s new 16mm
equipment will enable him
to produce more serious
work in the field of cinema-
tography. Already he is
busily engaged on the film
he will enter in Home
Movies’ 1941 contest; also
on a documentary film in
Kodachrome of an yet un-
disclosed subject.

Kodachrome for Tests

Recent experiments in the
use of Kodachrome- loaded
16mm cameras by Holly-
wood studios for shooting
screen tests, proved so suc-
cessful, practice has now be-
come general with all major
studios. Mobility of 16mmij

Compact . . . Alert . . . Always
on the Job for the Finest
of Home Movie “Stills”...

KODAK BANTAM f/4.5

ONLY $22 — (CASE $4.25 EXTRA)

gorgeous, full-color Kodachrome trans-
parencies. hocuses to 214 feet for close-
ups. Modern photofinishing methods lead
to standard 214 ^ 4-inch hlack-and-white
prints. See the Kodak Bantam //4.5 at
your Kodak dealer’s.

ONLY EASTMAN MAKES THE KODAK

AS convenient to carry as a watch, and moderately priced, Kodak Bantam fj^.h
is the ideal “still” companion camera to your Cine-Kodak. \\’ith its hutton-
actuated, “pop-out” front, the Bantam gets into action quickly. Its Kodak .\nas-
tigmat Special //4.5 lens and 1/200-sec-
ond shutter enable you to make fast-
action hlack-and-white shots as well as

EASTMAN KODAK COMPANY, ROCHESTER, N. Y.

AND 04 VARIETIES
F FADES AND DISSOLVES ^

EVE^Y MGStU MAKER NEEDS

A B06i\ CINE-FADER

The BOOL FADER also operates 6ft any

projector IcAs, Fits all lenses of from Vj” fo '

T/j" diamet*V- Weighs only 6 oi. Complete ,
with eitcnsioArubo. cable relcasCj..ai*d'In-
structions $17.50

See your deufler'or urite for illiistraled folder

AMERICAN BOLEX COMPANY

155 EAST 44TH STREET NEW YORK, N. Y.

Technique is an overworked word, but it
alone conveys the idea of one important
difference between interesting movies and
just motion pictures. Scene transitions
and special effects assist the easy flow
and story value of a film. Fades and dis-
solves— expertly made — and widely varied
for novelty are oart of good technique.
The handy BOOL makes all sorts and
kinds of fades and dissolves "as you
and they are timed and operated by
the clockwork mechanism. It is not nec-
essary to remove the eye from the view-
finder when operating the FADER. Yes,
the BOOL offers 64 different basic effects
— sharp or soft — also serves as filter or
mask holder. Get a BOOL today and
start making real movies.

FITS MOST

EVERY

MOVIE

CAMERA

PAGE 134

HOME MOVIES FOR MARCH

CLUC • • • witL
SEEMANN

f^opuiari^ f^ficed

HIGH QUALITY

EDITING NEEDS

SPLICER . . . 82.95

Ingeniously designed, and made of heavy
gauge, plated metal. Modern dry scrape
principle. Ideal for either 8mm or 16mm
film. Quick . . . accurate . . . efficient.
Cement included.

TILLERS

MODEL ‘A’ $6.95

MODELER’ ReSrs $9.95

sturdily constructed of light aluminum al-
loy— quickly adjustable to fit all 8mm or
16mm cameras. Positive centering feature.
Makes all types of clear-cut typewritten or
hand-lettered titles, including scroll or
rolling.

EDITEER

$12.50

A complete outfit for efficient editing and
repair work. Rewinds, Splicer, Illuminated
Viewer and Film Rack — compactly mount-
ed on beautiful alderwood base board. For
either 8mm or 16mm film.

■ SPLICEMASTER . $6.75

■ Comprises Splicer and Rewinds, on attrac-
I tively finished base board. A junior edit-

■ ing board for those who do not need the
more complete facilities of the Editeer.

■ For 8mm and 16mm film.

SEEMAXX’S, me.

I Operating as

■ WHOLESALE

" PHOTO SUPPLY COMPANY

H 6628 Santa Monica Blvd.

HOLLYWOOD

86 Third Street • San Francisco

equipment plus conserva-
tive low cost of Kodachrome
versus Technicolor, estab-
lishes practice as important
new phase of professional
motion picture production.

Hawaiian Tuna

Len Roos, now firmly es-
tablished in commercial pic-
ture production in pineapple
and palm-fringed Hawaii is
scheduled to start shooting
March 1st on a 16mm color
motion picture for a promi-
nent Hawaiian tuna packer.

Included in schedule are
some thrilling shots to be

• Continued from Page 125

repetition of the gag or ac-
tion, with a subtle hint of a
surprise to come, that pro-
vides the laughs. The first
time the action is seen, the
audience usually makes no
special note of it. The sec-
ond, and perhaps even the
third, time brings no re-
sponse ; but by the time the
scene is repeated the fourth
and fifth time, it starts to
bring the laughs.

There is practically no
limit to the number of times
a gag can be repeated in a
single reel. If a gag is clever
and not too long, it can be
repeated as many as a dozen
times in a picture.

This gag type of humor is
usable with any type of film,
whether it be travel, news-
reel, family record, or pho-
toplay. Furthermore, it is
especially recommended to
the amateur because it
doesn’t have to be made at
the time the rest of the film
is photographed, but can
be thought up and photo-
graphed after the film has
been completed, as was the
case with “Checking Off the
Budget.”

In the early days the pro-
fessional used the running
gag for all it was worth. To-
day, its variations are so
many that even the careful
observer has trouble in de-
tecting it. Not only have the
professionals used the same
piece of action in one film,
but through whole series of
films, and also the same
gags have beerusuccessfully
employed by the same actor
in different pictures. One of
the best examples is Harpo
Marx’s everlastingly chas-

made on mid-Pacific Tuna
fishing banks showing mod-
ern native methods of gath-
ering this important food-
fish for Hawaiian canneries.

When production of pic-
ture is concluded it will be
given wide distribution by
the sponsor in North and
South America.

Recently completed by
Roos, is an educational pic-
ture covering Tuberculosis
Prevention work on the
islands, copies of which are
scheduled for distribution
and exhibition in the United
States.

ing his one worldly weak-
ness — blondes ! He sees a
blonde, smiles, and then
gives chase. The Marx fan
is so used to this action that
whenever a blonde appears
in any scene in a Marx
Brothers’ picture, one ex-
pects Harpo to smile and
run, and in fact the audi-
ence is disappointed if he
doesn’t.

Of course, if the action is
funny, it brings greater
laughs — and brings them
sooner — but this isn’t al-
ways necessary. One gag
which has been overworked
by both professional and
amateur is that of a fat
person always eating. With
this gag, whenever food is
brought into the picture, the
next scene shows the fat
person eating. Perhaps to-
ward the end of the reel the
fat fellow is eating more
slowly, and finally at the
end he is sitting down, so
full he can hardly take an-
other bite.

An example of another
gag which gets a laugh at
the beginning was seen re-
cently in a boys’ camp pro-
motion film. Near the start
of the picture, a big boy
playfully throws a pan of
water on a smaller lad. The
little fellow picks up his
towel and gives chase. A
few minutes later another
shot of the chase appears,
and laughs begin to come
from the audience. A little
later the chase is seen again,
and again there are laughs.
Every few minutes this
same chase is shown, and
each time it brings laughs.
While other campers are
playing ball, the big boy ap-
pears, disrupting the game.

followed by the smaller boy
and his ever-waving towel.
At the swimming pool we
see the chase again, but this
time the principals are in
swimming suits. The picture
closes with the sun sinking
in the west. The scene starts
to fade out. The audience is
led to believe that’s all of
the picture, but just before
the “End” title flashes on
the screen, a silhouette shot
from a low angle of the two
boys against the western
sky gives the audience a
final laugh.

Although the running gag
is an easy medium for pro-
viding comedy relief, there
is a certain amount of care
which should be given to it.
Whereas any kind of action
is usable, the best is that
which seems very much in
place in the film. Timing
also plays an important part
and the editor should watch
this carefully when cutting
in the gag scenes. The first
scene of the series can and
should be full length, say,
perhaps five or six seconds.
The second and perhaps the
third repeat can be equally
as long, but from that time
on the gag scenes should be
shortened. By the sixth or
seventh time the scenes
should be cut to one or two
seconds in length. The audi-
ence will get used to the
scene to such an extent that
in many cases merely the
appearance of the actor
alone will bring a chuckle.

If a gag scene is too long,
the laughs will start to die
down long before the action
has finished, and this more
than likely will result in the
additional repetitions be-
coming boring rather than
comical. At this point the
editor should remember the
old vaudeville slogan, “leave
’em laughing.”

FOR REEL FELLOWS

Now being readied for distri-
bution among members of the
Reel Fellows is a production
credit title card carrying the
words, "A Reel Fellow Produc-
tion," and including the Reel
Fellows insignia. This title is
printed in white upon a panel
of clear celluloid so that it may
be used over photos or picto-
rial backgrounds of the individ-
ual's own choosing.

Also to be made available to
all amateurs soon is a series of
similarly printed main titles.
Such titles, printed on cellu-
loid, will greatly enhance the
ability of amateurs to make
colorful titles in Kodachrome.

i\unnut^ • • •

HOME MOVIES FOR MARCH

PAGE 135

Damaged Film (Samuel Del
Pazzo, Ardmore, Pa.)

Q. I am sending you a sec-
tion of one of my films on
ivhich the emulsion appears
to have run tvhile film was
stored. Can you tell me what
caused this ?

A. You failed to state
where this film was stored,
but evidently it was near
heat, for the damage was
caused, not by moisture
alone, but also by excessive
heat. You may have moist-
ened the humidifying pad
too much and then stored
the film in too warm a place
which only served to hasten
the condensation of the
moisture in the pad.

Cine films should be stored
in a cool place, dry or only
moderately humidified.
There is a special feature
elsewhere in this issue deal-
ing with the subject of car-
ing for films which gives
some excellent advice on hu-
midification and storage.

Wide Angle Lens (J. H.
Brown, Chicago, 111.)

Q. Which lens — regular,
wide-angle, or telephoto —
would you advise using for
shots to be made from ob-
servation platform of mov-
ing train, some in slow mo-
tion ?

A. For the slow motion
shots, the wide-angle lens
will be best, as it will give a
better impression of faster
movement of the train due
to the wider angle, which
will cause perspective to re-
cede faster.

Use of the regular or tele-
photo lens would give the
effect of slower motion of
the train.

Stills to Life (H. B. Krueger,
Minneapolis, Minn.)

Q. I wish to make several
scenes wherein a still pic-
ture is made to suddenly
come to life, such as a sot in
a photo album. Hoiv slioidd
I do this for best residts ?

A. Unless you have some
specific snapshots or photos
in mind, the best way to gain
this effect is to shoot your
action scene first, then make
an enlargement of the very
first frame and use this as
your album shot. Thus with

• Readers: This department
is for your benefit. Send in
your problems and our tech-
nical board of professional
cameramen ’will ans’wer your
question in these columns. If
an answer by mail is desired,
enclose addressed stamped
envelope.

your album shot spliced in
as your lead scene, it would
suddenly come to life — as-
sume action — at point where
action scene was spliced to
it.

Most effective way to
shoot the album shot is to
use titler and focus camera
so part or all of album page
shows in scene, then gradu-
ally zoom camera down to
picture until it exactly fills
frame. In this way there
will be no noticeable jar be-
tween shot and that of the
action scene which follows
it.

Processing (Arthur Beck-
with, Oakland, Calif.)

Q. I am enclosuig a home
processing formula and
wish to ask your opinion as
to its adaptability for use
with fast emulsion films.
Also, is it imperative that I
ahvays use distilled water
in compounding home proc-
essing formidasl

A. The formula submitted
may be used with any emul-
sion, although the develop-
ing time may vary, which
can be determined by test.
There is no substitute for
making test strips and ex-
perimenting with them. As
a rule, though, you’ll find
that the faster the film
emulsion, the longer is the
developing time required.

Distilled water isn’t abso-
lutely necessary unless the
tap water of your commu-
nity contains an overabun-
dance of natural chemicals
which may affect the devel-
oper.

Auxiliary Lenses (Peter N.
Patois, Duluth, Minn.)

Q. Although it is custom-
ary to use auxiliary lens of
a different diopter rating
when shooting ultra- close-
ups at various distances, I
have heard that it is pos-
sible to gain critical focus

DE LUXE TITLE LETTER

DeLuxe Sets are available in:

Classic or Script $9.00

Postpaid for cash with order.

Broadway or Modern Block, $7.00

Postpaid for cash with order.

Specify whether you wish black
or white letters

Here is something brand new to add sparkle
and novelty to your movie titles . . . Famous
Knight Metal Letters and a beautiful Wood-
grain Background.

All Knight DeLuxe sets of metal letters are
attractively packed in a reinforced cardboard
box with an imitation Woodgrain cover that
makes a perfect background for your titles.
Area for title background is 9"xl2",

Every DeLuxe set contains 4 ornamental cor-
ner pieces, a fine pair of tweezers for easy
handling of the letters and a tube of rubber
cement for fastening letters to the back-
ground. Letters can be used over and over
again, as they are easily removed and the
cement rubbed off with your finger tips.

Write for Samples anil Descriptive Circular

KNIGHT & SON, INC . Box B, Seneca Falls, N. Y.

MODEL
3

Victor Cameras are world famous.

Now again Victor announces
these many new advancements.

In addition to those listed above are the
many superior Victor features of easier
threading, easier cleaning, quieter operation
— all results of Victor's finer craftsmanship.
Models 4 and 5 have 3 lens turret front
with lock. Model 5 has all Victor fea-
tures PLUS reverse action. Model 3 is
distinctive In the single lens all purpose
camera field.

Write Dept. B-1 Today For New Folder

PAGE 136

HOME MOVIES FOR MARCH

..^USED

EQUIPMENr

8mm CAMERAS

Cine-Kodak 8-20 F 3.5 lens $19.50

Cine-Kodak 8-25 F 2.7 lens 28.50

Cine-Kodak 8-60 F 1 .9 lens and case 49.50

Keystone K8 — F 3.5 lens 16.50

Keystone K8 — F 2.7 lens 23.50

Keystone K8 — F 1 .9 lens 33.50

Filmo Companion F 3.5 lens 36.50

Filmo Sportster F 2.5 lens 53.50

16mm CAMERAS

Cine-Kodak B F 6.5 lens $10.00

Cine-Kodak B F 3.5 lens 21 .00

Cine-Kodak B F 1 .9 lens 40.00

Filmo 70 A F 3.5 lens and case 35.00

Filmo 75 F 3.5 lens and case 32.50

Filmo 75 F 1 .8 lens and case 47.50

Stewart-Warner F 3.5 lens and case.... 15.00

Victor 3 Camera F 3.5 lens and case 35.00

Filmo 70 E F 2.7 lens and case 80.00

35mm Kinamo F 2.7 Tessar and case 30.00

Keystone A-3 Camera F 3.5 lens 20.00

Keystone A-7 Camera F 2.7 lens 28.00

Keystone A-7 Camera F 1 .9 lens 49.50

Cine-Kodak Special F 1.9 lens and

case 275.00

Cine Ansco Camera F 3.5 lens 17.50

8mm PROJECTORS

Filmo 122D Projector, 500-watt bulb $72.50
Revere 8 Projector, 500-watt bulb.... 47.50
Kodascope 8-70 Projector, 500-watt

bulb 43.50

Keystone R8 Projector, 500-watt bulb 33.50
Keystone G8 Projector, 200-watt bulb 18.50
Keystone M8 Projector, 300-watt bulb 23.50

16mm PROJECTORS

Kodascope C Projector,

100-watt bulb $ 7.50

Kodascope E Projector,

500-watt bulb 39.50

Kodascope EE Projector,

750-watt bulb 45.00

Standard S Projector,

500-watt bulb 29.50

Keystone A 72 Projector,

300-watt bulb 27 .50

Keystone A 81 Projector,

750-watt bulb 45.00

Keystone A 75 Projector,

500-watt bulb 37.50

Filmo Model S Projector,

500-watt bulb 69.50

Filmo Film Master Projector,

750-watt bulb 98.50

LENSES

1" F 3.5 Teletar lens 8mm cameras.. ..$1 8.00
1 1/2" F 3.5 Teletar lens 8mm Cameras 24.00
1 1/2" F 2.7 Britar lens 1 6mm Cameras 29.50
1“ F 1 .9 Berthiot Cinor lens 16mm

Cameras 25.00

1" F 1 .5 Wollensak lens 16mm

Cameras 32.50

2" F 3.5 Berthiot Cinor lens 16mm

Cameras - 22.50

3''F 3.5 Berthiot Cinor lens 16mm

Cameras 37.50

2" F 3.5 Wollensak lens 16mm

Cameras 22.50

3" F 4 Wollensak lens 16mm Cameras 30.00

3" 3.4" F 3.3 Wollensak lens 16mm

Cameras ^' -59

1" F 1 .4 Zeiss Biotar for 70 A Filmo 45.00

1" F 1 .3 Schneider Xenar for 70 A

Filmo

2" F 3.5 KA Telephoto Cine Special.. 30.00
15mm F 2.7 Wide Angle Lens Special 25.00
3" F 4.5 KA Telephoto lens Kodak BB 20.00
4" F 4.5 KA Telephoto lens Cine

Special 35.00

If it’s photographic you’ll
find it at

32nd St., near 6th Ave., New York

World’s Largest Camera Store
Built on Square Dealing

•k-k-k-irkirkirkirkirk-kirk •k'irk'k'k'trkit

over a wide range of dis-
tances, using hut one auxil-
iary lens when such a lens is
placed before a camera lens
in focusing mount. Can you
verify this? Also can you
give me any definite infor-
mation or examples of this
theory ?

A. Yes, when an auxiliary
lens is used before a camera
lens in a focusing mount,
changing the focus will also
change the focusing dis-
tance of the combination of
camera and auxiliary lens.
For example, the following
table shows the range of
focusing distances available
through use of a 1-diopter
auxiliary lens :

Infinity 40 inches

15 feet 32.3 “

10 feet

29.6

8 feet

27.9

6 feet

25.4

5 feet

23.8

4 feet

21.6

3 feet 6 inches

20.3

3 feet

18.8

2 feet 8 inches

17.6

2 feet 4 inches

16.0

2 feet

14.9

This table is

based

upon

metric calculation, using 1
meter (39.37 inches) instead
of 40 inches for the focus-
ing power for 1 diopter. It
is more accurate, possibly
too accurate, for our pur-
pose, but is the accepted
method of figuring for those
skilled in optics. There are
uncontrollable factors in the
use of auxiliary lenses with
a focusing mount due to the
fact that a portion of the

dioptric power is created by
focusing while another por-
tion is created by the addi-
tion of the auxiliary. Be-
cause of this, extreme accu-
racy is desirable.

The method of computa-
tion is as follows: First,
convert the lens setting into
inches and determine its di-
optric value by dividing in-
to 39.37 inches. Then add
the dioptric value of the
auxiliary lens and convert
the total into inches. For
example, with a lens setting
of 2 feet, which is 24 inches,
we have a dioptric value of
1.64 diopters. Adding our
1-diopter auxiliary gives us
a total of 2.64 D., which will
focus at 14.9 inches.

urptide openin^y

^inidli ft

ot movied

• Continued from Page 120

be quite a trick to hit upon
a good opening. You hadn’t
intended to film a “story”
of any kind, so your picture
is just a series of shots with-
out any particular idea in-
volved. In this case, look
over your shots to give you
a clue. If your daily work
keeps you confined and your
film record shows strenuous
activity while at the beach
for a week, begin your pic-
ture with the result of this
unaccustomed exposure to
sun, wind, wave, and exer-
cise. You are sitting on the
porch ; a friend drops by ; as
you raise to shake hands,
you groan and sink back in-
to your chair in great pain.
Your friend, in surprise,
asks what in the world hap-
pened to you, and you mut-
ter: “Beach . . . Vacation.”
From here you can proceed
directly to your vacation
shots, finishing on the shot
of your friend listening
sympathetically. Corny per-
haps, but it does have audi-
ence interest.

Surprise is an element
that can be used in creating
an interesting opening. Get
your audience set for one
thing — then put a twist on
the story, still observing
unity with the rest of the
picture. For example, moth-
er is giving a surprise,
birthday party for little
James. The opening shot
shows her putting the cake
on the table. -Next she takes
a peek to assure herself that
little Jamie is quietly amus-
ing himself in his bedroom,
unaware of the impending

party. The guests are troop-
ing up the walk; mother
hurries to the door ; cautions
guests not to make any noise
until little Jamie appears;
she turns to call him. Cut to
shot of little Jamie already
seated at the table, waiting
expectantly, and your birth-
day party will have started
off in high gear, to the en-
joyment of the audience.

Introduction to the docu-
mentary film is somewhat
simpler to achieve than any
of the other types. This is

due to the form of the docu-
mentary, presenting, as it
does, either a problem or an
argument to be solved or
proven. Since the end or
conclusion is clearly fore-
seen— in fact is the basis on
which the documentary is
built — it is a matter of
working backward to get a
proper opening. A clear
statement of the problem or
argument, together with
those scenes that most for-
cibly present either, will, in
most cases, suffice.

Exposure Meter Guide

SCHEINER

Weston

SCHEINER

Weston

C«

■a

AGFA

GEVAERT

100

16mm Panchromatic. . . .

Ortho

16mm Supreme Pan. Neg.

16mm Finopau Neg

GENERA

16inin Plenachrome

Normal Panchromatic. . .

8mm Twin-8 Hypan

Super Ortho

Semi-Ortho

DUPONT

Reg. Pan (Rev.) Type 321

KIN 0 LUX

Sup. Pan (Rev.) Type 302

100

No. 1

Superior-2 (Neg.-Pos. or

No. 2

Reversal) Type 301 . . .

No. 3

Type 314 Pan (Neg.-Pos.

or Reversal)

CONSUMERS

1/6

Sound Recording Positive

Pancbro

Colorcrome

EASTMAN

HOLLYWOOD

16mm Super XX Pan. . .

100

S. S. Pan

Semi-Ortho

16mm Sound Pan

16mm Pan. Negative.. . .

UNIVEX

9.^

8mm Regular Pan

Kodachrome (8 & 16mm)

14’

GRAPHICHROME

Koda. "A” (8 & 16mm) .

18*

Regular

Plus

•With filter.

Superpanex No. 100. . . .

100

Superpanex No. 24

Colortone

HOME MOVIES FOR MARCH

PAGE 137

HOW I KEEP

m CAMERA BUSV...

MOVIE-MAKING IDEAS FROM READERS

MontMy Diary

When we bought our cam-
era and projector, my hus-
band and I decided we would
not let home movies become
just a “fad” with us to be
dropped as soon as the new-
ness wore off. So we started
what we called our “Month-
ly Diary.” In other words,
we planned to do something
interesting every month —
things we had frequently
planned to do, but didn’t get
around to, such as visiting
the zoo and historical spots
in our locality, and the many
local parks — and to make
movies of these places. Or
perhaps the boat races in
the spring; football in the
fall ; and, of course, our va-
cation trip.

Not only have we gained
greater enjoyment from
these trips, but we now have
a month-by-month record of
our activities to refresh our
memory at the end of the
year — and a library of films
that is also a source of pleas-
ure to our friends.

— Mrs. W alter T. Mullen,
Oaklyn, N. J.

Events of 1941

This year I have inaugu-
rated a movie program cer-
tain to keep me and my
camera busy. I have start-
ed a film that I am calling
“Events of 1941.” It is to
be a sort of newsreel of lo-
cal happenings during the
current year, with the idea
that it will appeal to resi-
dents of our community
rather than be a strictly per-
sonal film.

I intend to film scenes pic-
turing the different seasons ;
community events such as
the local Fair; progress of
work on a local dam ; impor-
tant parades; and all nota-
bles and prominent people
who may visit our city. Al-
ready I have shots of the
Elks’ New Year’s Day Cele-
bration and the Annual
Straw Hat Parade. I am
now making plans to film
skiing activities in nearby
mountains.

I have also made prepara-
tions to film scenes of un-
looked-for events such as

Do you shoot a roll of film,
then put your camera bock
on the shelf indefinitely, or
do you keep active shooting
movies all the time?

For the best letter received
each month telling "How I
Keep My Camera Busy" the
editors will reward the con-
tributor with a roll of pan-
chromatic film; second best,
copy of cither "Home Movie
Gadgets" or "How to Title
Home Movies" — both volu-
able books for the movie
amateur; and third best, two
of the new "Steel-Flex" reels
(8mm or 16mm) and con-
tainers.

Address letters to Editor,
HOME MOVIES, 6060 Sun-
set Blvd., Hollywood, Calif.

fires or wrecks. Arrange-
ments have been made with
the night clerk of a local ho-
tel to call me should a major
fire break out during the
night anywhere in the city.
A newspaperman has kind-
ly consented to phone me at
once should some event take
place that would make in-
teresting movies.

— Edgar M. Thornton,
Walla Walla, IVash.

Camera Always
With Him

I find the most practical
way to keep my camera busy
is always to have it with me,
and the most convenient
method for this is to contin-
ually carry my camera in
the glove compartment of
my car.

Recently in this city there
occurred two general alarm
fires. On both occasions, due
to having my camera loaded
with film and in my car, I
was able to get to the scene
quickly and get swell mov-
ies of the fire from a select
spot.

On another occasion, a di-
rigible flew over the city. I
went out to my car, got my
camera and captured some
swell shots of the ship dur-
ing its flight.

When Presidential Candi-
date Wendell Willkie visited
this city last fall, again I
hopped into my car and was
soon on the scene making
valuable historical movies.

There are many times
when, coming home for

■

Think of setting up your home
movie floodlights without tan-
gling with a lot of equipment
— separate bulbs, reflectors —
and what have you!

That's what happens when you use
Wabash Reflector Superflood in its
detachable swivel socket! This new- .

type floodlamp is built in one, fool-proof unit combining
both floodlamp and inside-the-bulb reflector of pure silver.
The special swivel socket adjusts with the touch of your
hand . . . holds light firmly on your subjects.

It is the quickest, easiest, handiest way to perfect movie
floodlighting— at home or "on location"!

Wabash Reflector Superflood is SSt* list. Swivel Socket
60(! list. At your dealer's. Or write to Wabash Photolamps,

Balanced
Efficiency
at Popular Prices!

Brooklyn, N. Y.

WABASH

Perfect blending of powerful "actinic"
illumination and long life features
these scientifically counter-balanced
Wabash Superflood lamps.

You can depend on them to give
you the brilliant flood of uniform
light you need lor sparklingly clear
home movies. They're Wabash qual-
ity, throughout!

SUPERFLOOD

Made by the Makers of the Famous Wabash
Superllasb Bulbs

Superflood No. 1 is photographi-
cally equal to 750 watts; average
life, two hours at 115 volts— list price
15(‘. Superflood No. 2 has twice the
light and three times the life of No.
1— list price 30(‘. At your dealers'.

MOVIE FANS

THALHAMMER TRIPODS!

The THALHAMMER Tri - Metal
Tripod for the amateur who in-
sists on the best. Buy it at
your dealer's today!

First, because THALHAMMER has been making
finely machined precision tripods for 33 years. Second,
because all THALHAMMER tripods are Rigidized —
to insure strength and stability. Third, because TH.VL-
HAMMER tripods are built for a lifetime of service.
Fourth, because when you buy a TH.ALH.AMMER
tripod you buy exclusive patented features that cannot
be had in any other tripod. You get such exclusive fea-
tures as T H AL H -A M M ER’S Sure-Foot Reversible
points, the most efficient yet the easiest to reverse. A
smooth, free action pan tilt head with patented locking
devices that makes for quick set-up and quick aiming
in any direction. A patented Instant-On plug that pro-
vides the utmost convenience in attaching or removing
your camera.

Because they are light in weight, sturdy in construc-
tion and wholly dependable in use, TH.\LH.'\MMER
tripods are first choice among amateur
movie fans and among many a leading
professional. It’s true when vour dealer
tells you — a THALHAMMER is your
BEST BUY!

The Thalhammer Company

4663 San Fernando Road Los Angeles

U.S.Paleni

Offlco

PAGE 138

HOME MOVIES FOR MARCH

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIH^

lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll^

IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIW

illllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll

lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll

RICHMOND ROSS

As good os a mirror
^^ond dependable too

Du Pont 16mm Films
bring practically every
subject within the expos-
ure range of your lens.

SUPERIOR PAN

This new reversal film has
the extreme sensitivity needed
for ftood indoor sliots. Its
speed is also of use outdoors
for slow motion work, scenes
with very poor lighting and
views employing a heavy filter.

The emulsion possesses wide
exposure latitude and good
non-halation properties. The
image, when projected, has
excellent pictorial quality and
a pleasing warmth of tone.

REGULAR PAN

For general outdoor use, this
standard speed “pan” is ideal.

Daytime light conditions fall
well within the range of a
lens. Bright scenes take f:16;
average scenes, F:ll. The
panchromatic color response,
the wide latitude and anti-
halo protection comhine to
produce an excellent screen
result. The image produced
has a brilliant gradation that
retains the sparkle of sunlight.

Du Pont Films are sold by leading
photographic dealers. The list
prices {Superior Pan — $6.00; Reg-
ular Pan — $4.50 for 100 feet) in-
clude processing.

Du Pont Film Manufacturing Corp.
9 Rockefeller Plaza, New York, N.Y.

BETTER FILM S/^or better PICTURES

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iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiim
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiim

lunch, I find my children en-
grossed in interesting play.
Unknown to them, I take my
camera from the compart-
ment of the car, train it up-
on them unobtrusively, and
thus I have secured some ex-
cellent shots imposed and in
perfectly natural moods.

— Dave Cohen, Lynn, Mass.

Cam(>ra on the Joh

I am a construction engi-
neer and have always kept
photographic records of
projects on which I have
worked. About a year and
a half ago it occurred to me
that moving pictures of ac-
tual operations would be

much more valuable and far
more interesting to review
than a collection of stills.
This has since proven to be
true. Movies I have made of
the construction work show
the method of doing the job
much better, and in addi-
tion, prove entertaining to
my friends.

At all times I keep my cam-
era loaded and in my car,
and as each new operation
begins, Fm always prepared
to get my shots. By the end
of the job, I have a complete
motion picture record of
just how each phase of the
job was done.

— Martin Green, Banning, Calif.

EXPOSURE TABLES FOR PHOTOFLOOD LAMPS

For Use With Good Reflectors

Distance ’Diaphragm opening for films with

Lamps Weston Mazda speeds of:

Photoflood

Lamps

Subject
in Feet

t2.8

f3.5

f4.5

f5.6

t6.3

f2.8

f4.5

f5.6

t1.9

f3.5

f4.5

f2.8

f6.3

t>V2

f1.5

n.9

f3.5

f5.6

One

f1.9

f2.8

f3.5

f6.3

No. 1

6}^

f4.5

Lamp

fj.5

fl.9

f2.8

f5.6

tV2

fj.5

12^8

t4.5

6V2

fl.9

f3.5

f1.5

n.o

M.5

t1.9

f2.8

f3.5

iV2

f3.5

f4.5

f5.6

f6.3

f3.5

f4.5

f6.3

fll

41^

f2.8

f5.6

f6.3

f3.5

f4.5

f5.6

til

5>4

f2.8

t3.5

f5.6

f1.9

f2.8

f4.5

Two No. Vs

6V2

f4.5

f6.3

f2.8

f3.5

One No. 2

f1.5

f1.9

f3.5

f5.6

f6.3

f2.8

One No. R2

fl.9

f3.5

f4.5

f1.5

fl.9

f2.8

f5.6

f1.5

f2.8

M.9

f3.5

f4.5

fj.5

fl.9

fl.5

n.9

t2.8

f3.5

t5.6

fll

f4.5

f5.6

f16

4J4

f3.5

t4.5

f6.3

f2.8

f5.6

f3.5

f4.5

f6.3

f3.5

t5.6

f6.3

fll

Three No. Vs

614

f2.8

f3.5

f4.5

f5.6

tV2

f1.9

f2.8

f4.5

One No. 2

f2.8

f3.5

f4.5

f6.3

and

9J4

f1.5

fj.9

f3.5

f5.6

One No. 1

10H

fl.9

f2.8

f3.5

f6.3

f2.8

f4.5

f5.6

nV2

fl.5

fl.9

f1.5

f2.8

n.9

f3.5

t4.5

fl.5

V/2

f5.6

f6.3

fll

f4.5

f5.6

f6.3

fll

f16

414

f3.5

f4.5

f5.6

f6.3

f16

Four No. Vs

f4.5

f2.8

f3.5

f4.5

t5.6

f6.3

Two No. 2’s

iV2

f6.3

f3.5

f5.6

Two No. R2’s

f2.8

f4.5

f3.5

f5.6

One No. 2

f1.9

f2.8

f4.5

and

f2.8

f3.5

f4.5

f6.3

Two No. Vs

f1.5

n.9

f2.8

f3.5

f5.6

One No. 4

n.9

f3.5

f6.3

f2.8

f4.5

fj.5

fl.9

f5.6

n.5

f2.8

n.9

f3.5

f4.5

h"" 18

fj.5

*For Weston speeds of popular films refer te Exposure Meter Guide on another page.
(See table of contents).

This data based on interiors and subject of medium color.

For light colored subjects and interiors close diaphragm one-half stop.

For dark colored subjects and interiors open diaphragm one-half stop.

Especially selected for greater enjoy-
ment of your precious leisure
moments! Travel, thrills, fantasy!
"ALICE IN WONDERLAND"—! reel
Gorgeous fantasy, with lovely blonde Joan Ben-
nett as Alice. Delightful music for sound version
by Irving Berlin.

16mm Sound — 220 ft $12.00

16mm Silent— 270 ft . 6.75

8mm — 135 ft 4.20

"TIGER HUNT IN BENGAL" — 1 reel
Authentic, fascinating picture of an actual tiger
hunt. See the tigers fight among themselves and
then attack the cameraman! A thrill a second.

I6mm Sound— 350 ft $17.50

16mm Silent — 367 ft 8.75

8mm — 183 ft 5.50

"ZOO IN MANHATTAN" — 1 reel
A 10-minute stroll through New York's famous
Central Park Zoo. The whole Animal Kingdom
in an absorbing, educational film.

16mm Sound— 376 ft $17.50

16mm Silent — 360 ft 8.75

8mm — 180 ft 5.50

Now in Preparation:

"Africa Squeaks" — Flip the Frog cartoon.
"Feminine Flashes in the World of Sports" — Kay
Stammers, Eleanor Holm, Sonja Henie.
"Colonial Williamsburg" — Andre de la Varre
travel film.

Sold by Dealers everywhere. Or write to

NU-ART FILMS, INC.

1 45 West 45th St. New York City

DOUBLE 8
8 AND 16
MM

Use GENERA

Without Slitting'

Fine grain REVERSIBLE semi-ortho OUTDOOR Film

Used in Cine Kodaks, Keystone, Victor, Revere, Univex.
Also used for titles. Plain base. Processing simplified
bv use of our Prepared Powders. FREE instructions.

200ft V"-r SI 75

8 width V*"" V pgjjj Eastman 40c
(00 ft. straight 8 for Univex and Keystone, $1.00 ptpd.
Simplified Processing Outfits incl. Prepared Powders.
For 30 ft. single 8. $3.35, ptpd. : Dbl. 8 & 16. $4.95.
Processing Powders: gal. Set, $1.20: 1 gal. Set. $1.85

Send lOc for two “The End" films and Free circulars.
FROMADOR GENERA CO., Davenport, Iowa

MAKE YOUR OWN TITLES

New magnetic, third-dimen-
sion, plastic letters adhere
firmly in any position to
metal backgrounds through
paper, cloth, cellophane.

91 White Magnetic letters.
9x12, or 10x14 black metal
panel, complete $9.50. Color
Letter Set $12.00.

At Your Dealer or Order from
HAMILTON DWIGHT COMPANY
155 East 44th Street New York Citv

FRAME-

COUNTING

WINDBACKS

Guaranteed accurate. Expertly engineered and in-
stalled. Money-back enarantee.

Keystone .... $15.00 • Filmo .... $19.95
Eastman .... $19.95
Precision Built Accessories for Every Need

Write Us Your Requirements

Custom Built Camera Accessories Co.

4124 Rawlins • Dallas. Texas

FREE RENTAL SERVICE!

TO CLUB MEMBERS ONLY

Join our Club and enjoy a new Rental Service.
b.OO membership and your film (200' 8mm, 400'
16mm) entitles you to FREE unlimited use of our
complete library for one year. Your film remains
your own. Write tor details.

MOVIE EXCHANGE CLUB

52 Monroe Avenue Grand Rapids, Mich.

Direct-Reading DeJur 'Critic'
Cine Model 40-C Exposure
Meter $15.50

( Custom Designed Case, $1.50)

DeJUR-AMSCO CORPORATION

Shelton. Conn.

HOME MOVIES FOR MARCH

PAGE 139

•TITLE THOUeiES-

By GEORGE W. CUSHMAN

If you have any ques-
tions concerning titles or
title making, Mr. Cushman
will be glad to help you. You
can address him in care of
this magazine or direct to
his home address, 3425 Wit-
mer Parkway, Des Moines,
Iowa. Include such informa-
tion as the type of film and
developer used, lights, ex-
posure, etc. Send along a
sample if possible and don’t
forget to enclose a self-ad-
dressed stamped envelope if
you wish a reply by mail.

Q. Is there a regular titling
film ? If not, what film is best
recommended for titles? —
G. .1. D., Ripon, Wis.

A. There is no film made
especially for titles, but the
film most widely preferred
for this work is “positive”
film. Intended primarily for
the making of positive pro-
jection prints from negative
film, it therefore is “color
blind,” slow in sensitivity,
contrasty and has fine grain.
The last two qualities es-
pecially make it ideal for
title work. It is quite inex-
pensive, selling for about a
cent a foot when processing
is not included, and since it
is not sensitive to any but
the colors at the higher end
of the spectrum, it may be
safely handled in a dark
room under a red light.

This positive film is de-
veloped to a negative only.
The values, therefore, are
reversed.

If reversal film is prefer-
able, the slower, and also
cheaper, films are better,
since these films have more
contrast than the super sen-
sitive emulsions, and con-
trast is essential in titles.
(Positive film can also be
reversed.)

Q. I notice very little in
your articles and in your
Title Trouble column abotit
color titles on color film.
Why is this — don’t you fa-
vor them or are the makers
of color titles so far ad-
vanced that they never ask
for help? — S. C. N., Joplin,
Mo.

A. No, we get questions
concerning the making of
color titles and print those

having general appeal and
interest. Probably the rea-
son they seem so few and
far between is that on nine
points out of ten they are
handled the same as black
and white titles, that is, as
to exposure, composition,
wording, length, necessity,
and so on. About the only
difference is that they have
color and obtain their con-
trast in the correct choice
of colors. Developing of ti-
tles at home, which brings
us from 60 to 70 per cent of
our inquiries, is, of course,
without color titles.

Yes, by all means, we do
favor color titles. Nothing
is more beautiful to start off
a color epic than a well-exe-
cuted main title in full col-
or, and as long as color ti-
tles don’t dominate the film,
they’re OK.

Q. Every month I hope to
see a title centering guide
for my camera, ivhich is of
foreign make, but so far
have been disappointed.
How much longer tvilll have
to wait ?■ — D. S. J., San Fran-
cisco, Calif.

A. That I cannot answer;
but in the meantime why
don’t you make one of your
own? It is a very simple
procedure. Take a piece of
newspaper and set it up in
front of your camera at
whatever distance you in-
tend shooting most of your
titles or close-up subjects.
The camera should of course
be on a tripod or other firm
support. Take a colored
pencil, blue, for instance,
and outline on the newspa-
per the exact field you see
through the finder.

Being careful not to move
either camera or paper, ex-
pose a few frames: two or
three are enough. When ex-
posed, take a magnifying
glass and determine the ex-
act field included on the film.
Note this on the same piece
of newspaper with red pen-
cil. From this time on, when
the camera is placed at this
same distance, the finder
will cover the blue area
while the camera lens re-
cords the red.

You can make such charts
for various distances and
fields, and workers desiring

MOVIE CAMERA OWNERS
THIS IS IMPORTANT to you

If your mind is open to facts ... if you do not let big names warp your
judgment ... if you strive for finer movie results as a rule — not an excep-
tion . . . and if you're the kind of person who takes pride in giving a fair
trial before formulating an opinion . . . then you must try KIN-O-LUX the
very next time you buy movie films.

Just because, daily, more and more experi-
enced camera users are finding in KIN-O-
LUX just the qualities they seek is no rea-
son tor you to like it, but, we believe, that
like them you, too, will discover yourself
getting new cinematic thrills and taking
more and better pictures.

y OH be the judge and jury. Let the tacts
speak for themselves. Go to your dealer to-
day. Ask for KIN-O-LUX by name. FIRST,
note the price you pay — it is less than any
other film of com parable quality. THEN,
see the results you get. Make the test to-
day. Your future movie enjoyment is in
your hands.

Selecf the KIN-O-LUX Films to Suit Your Purpose

INDOORS: KIN-O-LUX No. 3 Gold Seal (Weston Tungsten 100,
Scheiner Tungsten 29° — No Outdoor Ratings), 100 feet $6.00,
50 feet $3.50. KIN-O-LUX No. 3 (Weston 50, Tungsten 40,
Scheiner 26°, Tungsten 24°), 100 feet $6.00. OUTDOORS: KIN-
O-LUX No. I (Weston 8, Scheiner 18°), 100 feet $3.00. KIN-O-
LUX No. 2 (Weston 12, Scheiner 20°), 100 feet $3.50.

Prices include processing, scratch-proofing and return postage.
At all leading dealers.

ECONOMY • RELIABILITY • FINER RESULTS

KIN-O-LUX, INC.

105 WEST 40th ST.
NEW YORK CITY

MITTEN’S

TITLE

LETTERS

Usetl by JSitntg Larye
P ro Hess iotml
iflovie SiutUos!

Best for Amateur Movie TitR‘s because . . .

1. Molded letters photograph whiter than Chinese \\’hite . . .

2. Clean, steel-cut appearance gives that professional look . . .

3. Depth of relief permits interesting shadow effects.

150 '4” pinback letter set S.S.iSO

150 lJ4 ” pinback letter set - . 6. .30

Lfdthtrrttf covered background junushed with each set.

.\lso furnished with smooth, sanded backs for trick etfects of all kinds, anima-
tion, etc.

150 sanded-back letter set S 1.7.3

150 lyi" sanded-back letter set .3.6.3

IlottU of latex for attaching to any surface furnished with each set.

Unsurpassed for KODACIIROMF. Titles — use white letters with colored back-
grounds. Letters can be colored if desired, using paint, lactiuer, show-card colors,
etc. However, we recommend using n'ltite letters on colored backgrounds — you
will be delighted with the effects so obtained.

t'.arried by Leaeliiic Photonraphic Supfsly Dealers
Over the Kutire I'liiled States

M.\nuf.\cture[) dy :

3IITTEI\’S IHSI’LAY LETTEKS Ko.llan, is, California

PAGE 140

HOME MOVIES FOR MARCH

Quality Bulk Movie Film

8mm • 9V2mm • 16mm • 35mm

SPECIAL PURCHASE . . . LIFTED SUPPLY
Genuine Anti-Halo, SUPER PANCHRO, MICRO-
GRAN. & High Speed ORTHO, in 96 ft. rolls. Lab.
packed cut into convenient 32 ft. lengths. SCORED.
SUPER PANCHRO REVERSAL
Speed 24-16 - Anti-Halo Backing

400 ft. 100 ft. 32 ft.
Double 8— Scored ....$13.00 $3.60 $1.30

Single 8 7.00 2.00 .80

16mm 12.00 3.35

MICROGRAN PANCHRO REVERSAL

Speed 12-8 - Anti-Halo Backing, Extra Fine Grain
400 ft. 100 ft. 32 ft.
Double 8— Scored ....$12.00 $3.30 $1.20

Single 8 6.75 1.85 70

16mm 11.50 3.15

HIGH SPEED ORTHO REVERSAL

Speed 16-6 - Anti-Halo Backing
Prices Same as for Microgran Reversal
CINE-KODAK POSITIVE TITLE FILM
Darkroom Loading. Laboratory Packed
NOT Scored

400 ft. 100 ft. 33 ft.

Double 8 $ 4.10 $1.35 $ .60

Single 8 2.15 .90 .40

16mm 4.00 1.00

Clear. Purplehaze. Yellow. Rpd. Amber. Special Blue.
Also DuPont Lavender, Pink. Light Amber.
SUPER CINEPAN PLUS REVERSAL— Not Scored
Speed 64-40 - Non-Halation Base

400 ft. 100 ft. 33 ft.

Double 8 $13.50 $3.85 $1.45

Single 8 7.00 2.15 .80

16mm 12.50 3.50

SUPER CINEPAN REVERSAL— Not Scored
Speed 24-16 - Non-Halatinn Base

400 ft. 100 ft. 33 ft.

Double 8 $12.00 $3.35 $1.25

Single 8 6.50 1.90 .70

16mm 11.75 3.25

CINECHROME SEMI-ORTHO REVERSAL
Speed 8-2 - Non-Halation Base

400 ft. 100 ft. 33 ft.
Double 8— Not Scored..$ 5.75 $1.75 $ .75

Single 8 3.50 1.15 .50

16mm 5.00 1.45

Complete New Reversal and Title Instructions Free
with Film Orders. Separately. 25c each. Cash, check
or money order for quick semoe. Deposit $1.00 re-
quired with C. O. D. orders. Special delivery, 15c;
air mail $1.00 extra. Overpayments refunded or cred-
ited. No stamps, please.

CAMERA SPOOLS WITH CANS— Each

Double 8 $ .35 Keystone St. 8 $ .35

Univex 8 20 16mm, 50 ft...._ 50

Eastman Double 8 40 l6mm, 100 ft 60

EXTRA CANS, Double 8 and Straight 8 size 05

100 ft. and 50 ft. 16mm size 10

Non-Humidor, 400 ft. 15c each; 10 for 1.00

MISCELLANEOUS

BATA Precision All Metal 8mm Slittei ?2.50

FOTOFADE DYE. for making Chemical Fades.... 1.00

FOTOFADE WTPE-OFF TAPE, per roll 60

CINETINTS. 6 Colors and Instructions 3.00

DuPONT VI.SCOSE SPONGES, each... .35

HOW TO TITLE HOME MOVIES, book. each.... 1.00

HOME MOVIES. Back Issues, 1936-37-38-39 15

Not all months in any year, 1940, each 30

TITLE DEVELOPER, tubes, each make 16 oz 15

FILM PROCESSING— PER ROLL

Reversal Title Developing

100 ft. 23 ft. 100 ft. 33 ft.

Double 8 $2.00 $ .65 $1.75 $ .75

Single 8 1.00 .35 .75 .40

16mm 1.50 1.25

Write for Complete NEW Price Lists
A PERSONAL MOVIE SERVICE
Telephone Lincoln 1207

W. STUART BUSSEY FILM LAB.

17 E. St. Joseph St. Indianapolis, Ind.

New

ci]^

ICl

Only $6.00

4 FILTERS and DUAL-SNAP SHADE TO MEET
ALL MOVIE FILTER NEEDS — both Kodachrome
and Black and White.

The new Harrison CINEKIT contains a special Aero
Lock Ring, a Dual-Snap Aluminum Sunshade, and the
following de luxe Duraline Filters;* No. 4 Red (brings
out clouds against grey-blue sky). No. 4 Green (gives
detail in green foliage and grass). No. 4 G-Y (dark-
ens sky — gives contrast in snow scenes). No. C-4 (cor-
rects indoor Color Film for daylight use). Case is of
durable 5-oz. Elkhide, felt lined.

(*If desired, any filters specified will be substituted
for the above — more than 50 colors are available to
ehoose from.)

Send for Free Illustrated Folder Today
HARRISON &. HARRISON. Optical Engineers
8351 Santa Monica Glvd. Hollywood. Calif.

TOOK 'EM IN TRADE..

. BUT THERE'S

MILES OF GOOD PICTURES

IN 'EM YET!

Used Filmo 16mm Cameras

141

Magazine Loading
FILMO— F;2.7 Lens

$75

141

FILMO— F: 1.5 Lens

$9250

121

FILMO— F:2.7 Lens ..

$4750

As well as USED CINE

KODAKS

WRITE FOR LIST

FREE: Bass Bargaingrams now

ready . . . two

editions MOVIE and STILL

. . state which.

CAMERA Ca Dept

IT4W.MADKON it H. M.

CHICA60.ILL.

other fields than those pub-
lished thus far in Home
Movies can make them in
the above manner.

Q. I have in mind a neon
sign which would, serve fine
as a title, hut it flashes on
and off %vith another sign in
such a way that it is impos-
sible to get a long enough
shot of it for my title. Wotdd
slotv motion he advisable in
order to get enoaigh frames,
provided even this tvoidd
give me the sufficient num-
ber?— C. K. DeV., Bloom-
ington, III.

A. You can figure this out
by timing the sign in sec-
onds and multiplying by 4
(the factor used in slow mo-
tion at 64 frames per sec-
ond). If this will give you
the correct number of sec-
onds for the title, and there
is enough illumination for
a slow motion shot, this
would solve your difficulty.
Also, you might shoot for a

few seconds, stop when the
change takes place, shoot
when your wording flashes
on again, stop for the next
change, and so on, until you
have sufficient footage. (Use
a tripod for this last sug-
gestion.)

But to me the easiest (and
cheapest) method would be
to photograph the sign with
a still camera, make a print
and then photograph the
print with your movie. If
the shot is to be done in
Kodachrome, do the same
thing, copying the Koda-
chrome shot, which should
be illuminated from the
rear.

Q. I have decided to get a
printing press and type with
which to make my titles and
would like to know what size
type looks best onthe screen.
Tests with 36-point seem to
give the best results and am
wondering if you think this
is ahotit right. — S. E. L.,
Erie, Pa.

A. You did not mention
the lens nor the distance
from title to lens, and these
two factors make all the dif-
ference. Any size type can
be made to appear any size
on the screen, depending en-
tirely upon the distance the
camera is away from the
area photographed. Ten-
point type photographed
close-up will look exactly
the same on the screen as
the same type style in larg-
er point photographed with
the camera moved back a
foot or two.

Thus you can get any size
type you choose, and regu-
late its size on the screen by
the distance your camera
lens is away from the title
when it is being photo-
graphed. Since most type is
sold by weight, the smaller
fonts are the more econom-
ical, and since the results
are identical on the screen,
most workers prefer the
smaller sizes.

^uer tried ma

• Continued from Page 122

this method is the uneven
lighting from top to bottom.
Even though slight, it is
noticeable. Another caution
is to keep the light from re-
flecting into the auxiliary
lens for the flare of light
will produce a circle of blur
and ruin the title. When we
are sure that parallax has
been eliminated, title area
is correct for distance, aux-
iliary lens is correct for dis-
tance, lighting is proper and
exposure determined, we
are ready to push the but-
ton. If we do not get a pro-
fessional title, then we have
forgotten something and
whatever error we make
should serve as an example
to avoid the same technique
on the second attempt.

Several references have
been made to the use of
positive film and as many
are probably unfamiliar
with the term, we shall
touch upon the relative
value of positive as com-
pared with reversal.

When duplicate prints are
made from an original nega-
tive, the printing is done
upon a film base which is
less expensive and of simple
structure, asHHe shading of
black and white in its vari-
ous tones will print only as
the negative permits. There-
fore, we are not concerned

Ling, titled

with the panchromatic ef-
fects. The emulsion on posi-
tive film is of the simple still
picture type and responds
in much the same way. This
film, although designed for
the use of laboratories in
making duplicate copies, is
sensitive enough to tung-
sten light to photograph a
fairly true reproduction.
With a Weston speed of 6,
it is possible to obtain
plenty of detail with aver-
age size apertures. Of
course, we must consider
that since it is a simple film
emulsion, we actually pro-
duce a negative just as we
would with a still camera.
This film cannot be re-
versed, but if a positive
copy is desired, it is then
necessary to contact print
the original with another
film of the same type. If
this film were used exclu-
sively for the use of titles,
as we describe in this dis-
cussion, then the term posi-
tive film would be a mis-
nomer as we produce a neg-
ative. However, it is called
positive film because it is
designed originally to ac-
cept the positive print from
a negative.

It is only by a coinciden-
tal adaptation that this film
is suitable for the photo-

graphing of titles. Now, we
must consider that since
this is photographing in a
single process we are re-
versing our black and white.
For example, the black let-
ters on a white background
will turn out the reverse
which makes the most sat-
isfactory title since the let-
ters appear white against a
black background. We could
use negative film for this
same process, but since it
has the same qualities as
reversal, it is more expen-
sive than positive. An added
feature of the positive in
the use of titles is its avail-
ability in various colored
stocks. Purple haze, the
most common, is a purple
base sensitized with the
same emulsion as white
stock, but the white por-
tions will have the purple
tint in the finished picture.
Amber is also a popular
color. The complete range
runs through yellow red,
blue lavender and pink.
There are no extra charges
for the color when ordered
in positive and the effects
are startling when proper-
ly combined with color pic-
tures.

Black and white can be
tinted and this is often
done to take care of short
lengths, special dyes being

HOME MOVIES FOR MARCH

PAGE 141

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Fast Service — Processing same day included.
Ask your dealer or send money direct.

Write for prices on developing and processing your
8mm and 16mm films — even if you bought them
elsewhere.

Visual Instruction Supply Corp.

1757 Broadway Brooklyn, N. Y.

ASK FOR

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listing the largest selection of

NEW MUSiai - COMEDY
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723 Seventh Ave. New York

BRREunA photographic
PRODUCTS

OF DISTINCTIVE MERIT

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See fhese BRITBLiTB Produces of your
dealer or write for complete cafologue.

MOTION PICTURE SCREEN
& ACCESSORIES CO.. INC.
351 West 52nd Street, New York City

20 2x2 slides $1

SPECIAL OFFER — unusual scenic, travel and pic-
torial views — full double 35mm size, sharp and
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List of ofher subjects sent with each order.

ART SLIDE CO., Sippo Lake K4, Canton, O.

16mm
Outdoor
AMBERTINT
Per 100' Roll

Fine grain safety film.
Weston 8. Machine-
processed. Ca lifornla
buyers include sales tax.

HOLLYWOODLAND
STUDIOS
Southgate, Calif.

YOUR MOVIES NEED TITLES—

Our FREE “Try-it-Yourself" Kit will prove that
you can make your own titles in black and white or
colors the easy "A to Z" Trace-a-Title way. No
experience is necessary,

IVritf today for your FREE kit. No obligation.
Complete outfit at your dealer or send $2.00 direct.

A TO Z MOVIE ACCESSORIES CO.

175 Fifth Avenue Dept. H23 New York City

tn .negative

.machine printed
.PRESS PRINTED

/) r»i Write for Literature

1812 PIEDAAONT

on the market for this pur-
pose. As far as the quality
of photography is concerned
there is no difference, so it
is obvious that positive film
is a popular choice being
less expensive and just as
efficient.

One factor of exposure can
be mentioned in connection
with the making of titles
and that is the use of slow
camera speeds to increase
exposure. Unless there is
animation to the title, there
is nothing lost and there is
the advantage of increasing
the range of exposure on a
still subject. Fades can be
speeded up or slowed down
through this method and
the method is often em-
ployed professionally.

There is a very satisfac-
tory method of fading titles
without a vignette and that
is by changing the location
of the light. Remember this,
however, that with reversal
film in order to fadeout, it
is necessary to draw the
light slowly away from the
title but in using positive
film, this would create a
white strip which is very
undesirable. Therefore, to
fadeout a title on positive
film, it is necessary to over-
expose, or throw more light
onto the title.

Xhe use of the diaphragm
is also possible in creating
fades and is a very reliable
way of making the fade-in
and fade-out match. Posi-
tive film with its property
of deep contrast which is
greater than negative stock
produced some very satis-
factory fading effects but a
little experimenting may be
necessary to obtain control
over its properties in order
to produce uniform results.
For those who wish to use
positive film, take this word
of advice : Respool your film
before putting it in the cam-
era in order to bring the
emulsion side next to the
lens. Positive film is not
usually spooled for this pur-
pose and when titles are to
be made, it is well to get
the image on the film in the
same manner as in picture
work. Otherwise, the light
must pass through the film
base before exposing the
emulsion and the result is
still a satisfactory title, but
it will be out of focus in the
projector and will require
refocusing each time a title
appears. This is quite a
nuisance and will cause you

to feel disgusted with it
each time you project your
picture. Also for simplicity
in splicing titles to the pic-
ture material, your emulsion
sides will match and there
will be less chance of error
in reversing your letters on
the screen.

Trick titles are interest-
ing to make and this opens
an avenue for some pleasant
scheming in producing un-
usual effects. However, the
finished result is seldom
worth the effort as the use
of trick titles is usually
frowned upon by experts
unless it serves to introduce
a scene that is consistent
with the trickery. For ama-
teur picture work the temp-
tation to take advantage of
the opportunities to use
trickery are so numerous
that one should hold him-
self in check lest he spoil
the picture by too much
of it.

Reverse action is interest-
ing and is accomplished by
filming the title upside down
and with individual block
letters tied to strings, they
may be pulled out of the
scene in irregular order
until all have disappeared
or fallen over. The reverse
effect on the screen will
show the letters to fall into
their proper places and the
title will close with the let-
ters in perfect reading
order. This is only one sam-
ple of the many variations
of reverse photography.
The pleasant effects which
we produce with any title
work are usually the result
of careful planning and it
is always advisable to spend
sufficient time in prepara-
tion to allow for smooth op-
eration during the actual
filming.

Until an amateur has made
his own titles, he has not
unfolded the complete fas-
cination of cinematography.
There is a great pride in be-
holding upon the screen a
successful result of an idea
woven into a title. I urge
those who have never made
titles to gamble a short roll
of inexpensive film to be-
come acquainted with the
thrill of title making. You’ll
never believe the depth of
the enthusiasm gained in
this art until you experi-
ence it yourself and once
you do, it will be easy to
locate those scenes which
need titles and require very
little encouragement to go
ahead.

SOLAR

The magic transformation of little nega-
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everyday work of a Solar . . . the enlarger
that docs everything. It gives you every
essential adjustment plus exclusive patented
features for producing ‘prize winning* en-
largements from your most ordinary nega-
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from 35mrn. to 5x7 inches. Vou’U get a real
thrill in working with a Solar.

FREE ENLARGING TREATISE

A comprehensive 36 page volume that
covers every branch of enlarging. Profusely
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valuable tips and short cuts. Write for
Enlarging I'reatise 11M3-11. It’s !• REh..

BURKE & JAMES, Inc..

223 W. MADISON ST. CHICAGO. II-I-. .

Buy from Byron's, Washington

SAVE MONEY

on all MOVIE Equipment

; We carry a full stock of-—
oil nationally advertised ^

movie cameras and equip-

ment. Wc don't have cx- Leading

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. . . but whatever you need, producers in

write US and wc'lI quote East

you the lowest prices. ^

Dept. HMM

BYRON'S, Inc.

625 15th Street Washington, D. C.

To Successful Pictures

Free illustrated catalog, crammed
with hundreds of new and used bar-
gains. Lists everything photographic — still and movie
cameras, films, lenses, equipment — at tremendous sav-
ings. Liberal trade-in allowances. Satisfaction guar-
anteed or your money back. 10-day trial. Write for
your FREE Copy — just out. Hurry I

CENTRAL CAMERA CO. Since 1899

Dept. C-9, 230 S. Wabash Ave., Chicago, III.

PAGE 142

HOME MOVIES FOR MARCH

ALL FILMS NEED //

(Black and White and Colored)

Scratchproofs Both Polished and
Emulsion Surfaces

WITHOUT VITAFILM — ^Films dry out, perforations Rip,
Tear, Crack, Surfaces become Smudgy. Abraded, Scratchy,
making picture screening Blotchy, Fuzzy, and Rainy . . .

LIKE THIS

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Rain Streaks and other Film Imperfections with

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Appb' it to new films. Prevents Sticking and Scratching
of both surfaces. Keeps new and old films Soft. Tough,
Durable and Clear, to screen “SNOW WHITE” for 20
years or more . . .

LIKE THIS

Don't subject new and old film to Extreme Dryness. Warp-
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Rain-storm picture screening, for the small cost of

VITAFILM PROCESSING FLUID

(Synthetic Lacquer)

Can be applied with a soft cloth by hand, or with our
production 16mm or 35mm film processing machine.

Trial Size, 4-oz. Bottle, 50c
Quarts, $2.00; Half Gal., $3.50; Gal., $6.00
Fully Guaranteed

See your nearest dealer, or order direct.

Manufactured by
R. D. HANISH COMPANY
93 East Longview Ave.
Columbus, Ohio

Eastern Distributor

KUNZ MOTION PICTURE
SERVICE CO.

1319 Vine Street
Philadelphia, Pa.

The PB Movie Filter Kit for Color Film

$3.95 COMPLETE

1 PB Lens Shade and Filter Holder
1 PB Haze Filter (for Kodachrome)

1 PB Conversion Filter (for converting type A to
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1 PB Filter Pouch

For 8mm Eastman. Bell & Howell, Revere,
Keystone and others.

Order from your nearest dealer or direct from:

Dr\i.tr\cn r orc-r 'O'S S. GRAND AVE..

PONDER & BEST los angeles. calif.

MR. 16mm

PRODUCER

We offer you complete
facilities for adding

SOUND

BLACK & WHITE • KODACHROME
SPECIAL EFFECTS • ART TITLES

GEO. W. COLBURN

LABORATORY

I 1 97-A Merchandise Mart CHICAGO

^^^ocumentciri^j

Continued from Page 127

homes; the expanding of
the city into hitherto un-
improved territory which
serves to introduce the func-
tioning of the city’s Depart-
ment of Public Works.

The next sequence depicts
the laying of new concrete
sidewalks and curbs in new-
ly developed residential dis-
tricts. This is gone into in
great detail to impress upon
the observer, and particu-
larly the taxpayer, the spe-
cial care which the city takes
to insure only the best in
concrete construction.

F ollowing this are scenes
depicting the grading and
surfacing of new streets,
and then the maintenance
and repair of streets, curbs,
and alleys.

At this point we must de-
scribe the exceptionally fine
subtitles which are to be
found in this picture. They
are undoubtedly among the
best of amateur titling ac-
complishments reviewed in
some time. Champion chose
as a titling medium a large
book on the pages of which
were written the title text
in longhand. Where a title
was too long to be contained
in one page, it was contin-
ued on the succeeding one,
and the turning of the page
lent additional class to the
title.

Perhaps the most note-
worthy feature of these ti-
tles is the manner in which
they were lighted. Instead
of plain, flat lighting. Cham-
pion placed his lights im-
mediately over the reclining
book, in which the titles
were written, and then, in
a very professional manner,
placed some object between
the light and the titles that
cast very pleasing shadows
upon them. The effect may
be seen in the reprodLiction
of one of the subtitles which
appears at the beginning of
this article.

“Longhand lettering”
Champion explained, “was
used to provide reading cul-
ture for school children and
the choice and arrangement
of simple words seemed
most approprriate to make it
possible for even a small
youngster to do his own
reading.”

One of the most interest-

movie

mon

• •

ing sequences, perhaps,
shows the construction by
Fresno’s Street Mainte-
nance Department of the
rotary brooms used on the
mechanical street sweepers.
A title informs that one of
these brooms lasts but six
days. Frequent replacement
is necsesary, therefore the
city found it more econom-
ical to build their own. The
construction is shown from
start to finish in a well-edit-
ed variety of medium and
closeup shots.

Throughout the picture,
medium and closeup shots
are frequent. Champion has
mastered this technique of
cinematography to perfec-
tion. There is little doubt he
has spent considerable time
analyzing the filming and
editing style of the profes-
sional, and “Home Town”
is evidence that he knows
how to apply what he has
learned. Human interest,
too, is maintained through-
out the picture through fre-
quent inclusion of interest-
ing closeups of workers.
Among the most notable
were shots of laborers, en-
gaged in spreading hot as-
phalt, lacing on the heavy
asbestos-protected shoes
worn for such work ; a street
laborer dozing beneath a
tree during his lunch pe-
riod ; and others.

The picture proceeds to
show the city’s system of
collection and disposal of
refuse, and the garage
where the fleet of collection
trucks are washed, serviced
and kept in repair. Next we
are shown the functioning
of the city’s water system,
the source of water, and the
method whereby equal pres-
sure is maintained through-
out the city district.

Following this is an ex-
tensive sequence showing
the construction and main-
tenance of sewers ; disposal
of sewage; and the farm
where sewage water, after
having passed through the
purifleation process, is al-
lowed to seep back into the
soil. Part of it is used for
irrigation of the city’s farm
and closing scenes show the
various products and cattle
raised on the farm, situated
outside the limits of the
city.

Quite evident is the fact

that Champion devoted con-
siderable study before start-
ing to fllm this picture of
the various subjects ; this in
order to make logical tran-
sitions from one episode to
another. For instance, all
material was arranged in
progressive form — street
paving was placed before
street maintenance; water
supply before waste water
disposal ; sewer construction
before sewer cleaning, etc.
Each subject was carefully
weighed as to importance
and given its allotted foot-
age. Transitions were con-
sidered of paramount value
and were in most cases
“staged” in order to produce
a smooth flowing continuity.

Filming operations were
spasmodic over a period of
a year, since it was neces-
sary to cover activities in
all seasons of the year. In
spite of this. Champion
achieved a perfection in
photography not always at-
tained by professionals. The
studio cameraman, shooting
with negative fllm, has a
certain amount of latitude
to work with in the matter
of exposure. If he misses by
as much as one full stop one
way or the other, it is read-
ily corrected by the labora-
tory during developing. Not
so with the amateur. When
he’s off any considerable de-
gree, it shows up on the fllm
regardless of the processing
laboratory’s limited ability
to render some measure of
correction.

This picture from the be-
ginning to the flnal scene is
as consistent in exposure as
though it had been Aimed by

REEL FELLOWS!

Continuing next month will be
the new department, "With the
Reel Fellows," chronicling the
doings of Reel Fellows from
coast to coast. Why not keep
your brother Reel Fellows in-
formed of your activities
through this column? Write the
editors, giving details of your
filming activities, future filming
plans, or interesting experiences
encountered through your affil-
iation with this new organiza-
tion.

Any photos of your activities
will be welcome and every con-
sideration will be given to their
publication when space permits.

HOME MOVIES FOR MARCH

PAGE 143

ESSCO MOVIE FILM
SAVES YOU MONEY!

ESSCO movie film was always a real bargain. But
now, to encourage more springtime movie-taking,
we’ve cut our prices 10 to 15 per cent on the most
popular sizesi

Low Cost Extremely Fast Panchromatic

Get those night pictures, theatricals. Indoor shots
heretofore beyond your reach ! ESSCO now offers
(Weston lg„,„ pi,|. g

100 Tungsten) fine |gp jp f,. 25 ft.

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ESSCO No. 8. Weston 8 ^ ^

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Processing included. Packed on daylite loading spools
in metal box. Ready for use In all standard cameras

— ^ ORDER TODAY direct- from this ad!

FILM PRODUCTS

61(7 S. Campbell Avenue
Dept. HIVl-3 CHICAGO. ILL.

ESSCO

NEW LIFE for USED FILMS

Cleaning Service for 8 and 16 mm

Oil. dirt, finger marks, etc., on used films will
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^ong Life for New Films!

Our elaborate, special chemical-
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Approved by the Society of Mo-
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Either of these services for black
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per 400-ft. reel, postpaid: or
C.O.D. plus postage. Mail today.

Our services
used for 10
years by leading
producers :

• MONOGRAM
PICTU RES
• IDEAL
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• U.S. NAVY
and many
others.

Sfondard Film Processing Company

723 Seventh Ave. Dept. H New York City

BY POPULAR
DEMAND

THIS AD WORTH ONE DOLLAR
IN FREE MERCHANDISE
ON ORDERS OVER $2.50
We again make our sensational bona fide
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(This offer is open to every one^ and is valid
until April 15th, 1941 )

ESO-S PICTURES

“QUALITY 8mm SERVICE”

3945 CENTRAL STREET KANSAS CITY, MO.

DEVELOP YOUR OWN FILMS

WITH A FLEXON OUTFIT

A NEW AND COM-
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AMATEUR AND
PROFESSIONAL
2 heavy gauge steel
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with Special hard rub-
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for assembling, proc-
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Film is completely in-
closed and entirely
immersed In solutions — retaining constant, even tem-
peratures. Washing system, with hose connections for
any faucet, insures a cleaner film. Pat. pending.

Made in 25. 50, |00 ft. sizes for 8 and 16mm film.

Drying rack extra. Write today for full details.

FLEXON CO.

1910 BELMONT AVE.
CHICAGO. ILLINOIS

IF hen You Buy BAIA
You Buy the Best

Precision Made :
Guaranteed Perfect

$2.50

From Your Dealer or Direct
BAIA MOTION PICTURE ENG.
259 Gerald, Highland Park
(Detroit). Michigan

photography. Commercial. News.

Portrait. Advertising, Motion Pic-
ture, Color. Teaching staff of noted
authorities. 31st year. Send fori
Free Booklet.

^ New York Institute of Photography
^ 10 West 33 Street (Dept. 1 14) New York City

fi-om
Experts

the negative -positive proc-
ess. There is no appreciable
variation in exposure in any
one scene, and that is an ac-
complishment worth talking
about in a production run-
ning 1600 feet.

No less commendable are
other qualities of the pho-
tography — the sparkling
sharp focus; composition;
camera angles; ami the ab-
sence of pan shots. Only
once is there any movement
of the camera that might be
termed a pan ; but the move-

o Continued from Page 115

will charge for this service
by the hour plus a small
cost for the metal which
may be returned later for
refund.

Next the type is locked in
the mictal form or “chase”
as it is more properly
known. After a little prac-
tice, one becomes adept at
centering the title in the
chase so that the printed
title card is accurately lined
up for ready use in the
titler.

After this step, we are
ready to print the card. Ink
is placed on the ink table
from which it is distributed
over the type by soft rollers
as the press is operated. The
title card is placed on the
platten, the handle of the
press moved downward, and
the impression results. This
is a very quick and simple
operation, yet requires a
little preparation before-
hand to insure an even im-
pression so making clear,
crisp titles. It is advisable
to make two or three im-
pressions of each title to
provide several from which
to select the best ; also to
furnish an extra print of
the title in the event acci-
dent should destroy the first
one.

Another interesting use
to which a small printing
press may be put is the
printing of main and sub-
title text over photographic
backgrounds or illustrations
cut from magazines. Still
another is to print the title
on a panel of celluloid which
may be placed over the il-
lustration in the title card
holder. In such cases, how-
ever, white ink must be
used, or the aluminum pow-
der process previously de-
scribed.

j Successful printed titles

ment is so slow, so smooth,
it is scarcely noticeable.

One of Hollywood’s pio-
neer motion picture pro-
ducers, and now ijresident
of an important film labor-
atory, sat with the editors
while reviewing this pic-
ture. He declared Cham-
pion’s work in all depart-
ments to be the equal of any
professional’s. Which in our
estimation is a tribute
equally important as the
Movie of the Month.

depend to some extent upon
the style or “face” of the
type selected. If the type is
too smxall, the title will be
hard to read. If the charac-
ter of the type is thin rather
than bold, it may not photo-
graph clearly.

Among the recommended
typefaces for title making
are the bold gothic types
such as Vogue, Metro and
Bernhard Gothic. Memphis
and Karnak are two other
faces embellished with ser-
ifs, and while not so bold,
make pleasing and easily-
read titles.

One important point to re-
member in making titles for
home movies is that the
comparatively smaller area
of the home movie screen
requires the number of
words to the line in a home
movie title to be mmch less
than that in a theatrical pic-
ture, to facilitate easy read-
ing by our audience. A
“packed” title is not only
difficult to read but must re-
main longer on the screen,
requiring added footage.

12 point type is recom-
mended for the average
title for use in typewriter
ti tiers. Capital letters of
type of this measure are ap-
proximately Vii" in height
and provide four to six aver-
age words to the line.

Still another use to which
a printing press may be put
is that of printing inserts
for one’s pictures. Should a
story call for the insert of
a paragraph from a news-
paper article, the paragraph
may be set in linotype and
easily printed. There are
other uses, too. The active
movie amateur offering fre-
quent showings of his films
in his home theatre, may
print his own programs;

A Tip from HOLLYWOOD

for Personal Movie Makers

IN HOLLYWOOD, they know it takes
the finest equipment to make the fin-
est movies. Studio experience has taught
producers, directors, cinematogra-
phers, and stars that the name Be// &
Houe// marks the finest professional
equipment. So, iov persoua/ movie equip-
ment, it was natural for them to choose

HOWELL

. ..and they found Filmo built to the same
high precision standards . . . built to give
projessioua/ resu/ls with amateur ease.

That’s why most professionals use
Filmo for home movies. Their example,
surely, is a good one for you to follow.

Write for informative booklets on
any 8 mm., l6 mm., or 35 mm. motion
picture equipment that interests you.
Bell & Howell Company, 1825 Larch-
mont Ave., Chicago; New York; Holly-
wood; Washington, D. C.; London.
Estabiisbed 1907.

GOERZ

KINO-HYPAR

LENSES

f:2.7 and f:3

For regular and color
movies of surprising
quality — high chro-
matic correction . . .

Focal lengths 15mm to lOOmm — can be fitted
in suitable focusing mounts to Amateur and
Professional Movie Cameras.

GOERZ Reflex FOCUSER

— Patented —

For 16mm Movie Cameras — voids PARALLAX
between finder and lens — provides full-siie
ground-glass image magnified 10 times. Adapt-
able to lenses 3" and up. Also useful as ex-
tension tube for shorter focus lenses for close-
ups. Extensively used in shooting surgical oper-
ations, small animal life, etc.

GOERZ Parallax-Free FOCUSER!
and FIELD FINDER CONTROL

No more off-center pictures, for Filmo 121 and J
Simplex-Pockette magnifies 4 and 8x. f

For Detailed Information Address I

Dept, llM-3 I

C. P. Goerz American Optical Co. 1

317 East 34th St., New York {

American Lens Makers Since 1899

PAGE 144

HOME MOVIES FOR MARCH

WIDE ANGLE LENS
ADAPTOR

In Focusing Mount

Fits and 13mm lenses, convert-

ing them to wide angle lenses. Doubles size
of area photographed.

Corrected for color and fully guaranteed
in all respects. Prjce $21.00

California buyers please include sales tax.
Orders will be filled in the order in which
they are received.

MoeVAN MFG. CO.

3829 El Cajon Blvd. San Diego, Calif.

• You wish us to produce a pro-
fessional film.

o You wish to film your own pic-
tures and have us add profes-
sional sound.

® You wish to rent a studio, cam-
eras or recording equipment . . .

Consult

HARTLEY

PRODUCTIONS

20 WEST 47TH STREET
NEW YORK. N. Y.

*'It Always Gets the Picture”

G FILM

Not Anti-halation

100' 16mm (Inc. Proc., postpaid) $1.70

50' Dble. 8mm (Inc. Proc., postpaid) 95

Unspooled to Save You Money Scheiner 18

Send Stamp for New Free Illustrated Folder

M-G-M PHOTO SERVICE

1465 Oak Street San Franeisca

D^tlttYourOwn

fr \ f^Film Titles

Photo cwfiacfino-

Photo titles, stationery, greeting
bookplates, advertising,
rules furnished. Junior

3 $8.26 up. Senior $17 up.

Print for Others, Big Profits. Sold
direct from factory only. Write for
free catalog and all details. Kelsey
Presses, W-94, Meriden. Conn.

Why use anything else when

TITLES BY PARK CINE

cost no more than ordinary titles.
Catalog Free on Request

PARK CINE LABORATORY

120 West 41st Street New York City

High Speed Film in Bulk!

DAY

100

TUNG.

■k FINE GRAIN
k ANTI-HALO
k WIDE LATITUDE
Double 8mm or 16mm — 100 ft., $3.60; 400 ft., $12.95

Send for complete lists and FREE booklet on home
processing instructions, plans, formulae and supplies.

CORONA FILM LABORATORIES
200 East 34th Street Brooklyn, N. Y.

FREE

O SILENT AND

lomm — omm sound-on-film

RENTAL LIBRARY CATALOGUE
Films Shipped Anywhere — Large Seleetion
Write Today for Your Copy

NATIONAL CINEMA SERVICE
71 Telegram Sq. New York City

8 ENLARGED ^ A REDUCED A

TO I 0 TO 0

GEO.W. COLBURN LABORATORY

special Motion Picttire Printing

1197-A MERCHANDISE MART
CHICAGO

tickets of admission ; and
announcements, not to men-
tion the title labels for his
film storage cans as well as
the title of each picture on
the leader strip.

Most popular of the small
printing presses suitable for
title printing are available
from Kelsey Presses, Meri-
den, Connecticut. These are

small, compact, and easily
carried from one location to
another — an interesting
feature for cine clubs de-
siring to add a press to
their community equipment
rooms.

By no means are these
small presses limited to
printing title cards for type-

cjClmitutionA poditive .

• Coniuiucd from Page 116

would be quite contrasty.
The blacks would be heavy
and the whites almost trans-
parent. The shadows would
be quite light, and if suffi-
cient exposure were given
to bring out detail in the
shadows, the highlights
would be so dark they could
not be printed. In such case
the only remedy would be
to under-develop. This char-
acteristic of high contrast
inherent in positive makes
it a desirable film where
good contrast is desired.
Hence its popularity in mak-
ing titles.

not mind deviating from
strictly black and white, he
will find the use of colored
base positive the simplest
cure for halation.

The developing formulse
may also affect the ultimate
result, and frequently some
of the characteristics just
described can be modified
during processing. But this
only adds to the fun and
pleasure derived in filming

• Continued from Page 128

A great detriment in the
use of positive film is the
fact it lacks a non-halation
backing. When light, com-
ing through the lens, strikes
the film it goes right on
through the film base where
it is reflected back to the
emulsion, causing a halo or
flare of light to appear
around bright objects in a
scene such as a white dress
or shirt, or the reflection of
sun on bright metal or glass.

Regular negative or re-
versal films are treated with
a non-halation coating in
the form of black or colored
dye. This is a temporary
application which readily
comes off during the rever-
sal or developing process.

There are several ways to
cope with the halation prob-
lem when using positive
film. One is to exclude from
the scene as many white or
brilliant objects as possible ;
another, to reduce exposure
slightly; or to film bright
objects, such as persons at-
tired in light clothing, in
shade or subdued light. An-
other way is to use positive
film with a colored base such
as amber which will tend to
absorb much: of the reflected
light. Of course, this would
mean the pictures would be
amber in tone when project-
ed, but if the amateur does

pened in the backwoods
country of Tennessee. I
wanted pictures of the peo-
ple’s huts, fireplaces, and
other things, but I found
cameras were positive-
ly taboo. I tried making
friends with some of the
natives, but it didn’t do
much good. Then I asked
them if they would like to
see some motion pictures of
the north country where I
live. They said they would
and arranged for the back-
woods people to come into
town that evening.

“They were amazed at mo-
tion pictures in color, for
many of these people had
never seen them before.
They asked for more, and I
told them that was all the
pictures I had. Then I told
them that the north people
would like very much to see
pictures of their homes and
gardens and that in all fair-
ness to showing them these
pictures they should let me
take some pictures to show
the people in my town. The
school children especially
would like to see them. This
reached their sense of jus-
tice and from then on they
not only permitted me, but
begged me to take pictures
of their homes. As a result
I not only had permission

writer titlers. Presses may
be had for printing cards up
to 9" by 12". We have dwelt
here upon the smaller size
only because the majority
of amateurs are using type-
writer titlers and because
the smaller cards when
printed offer all the advan-
tages of those 9" by 12" in
size.

• •

with positive — the low cost
film which has become the
medium of the home proc-
essor. In the meantime, hap-
pily puttering among his
tanks and drums and solu-
tions, the home processor
looks hopefully for the day
when a true, low-cost pan-
chromatic film will be made
available especially for his
interesting branch of the
amateur movie hobby.

classroom

but cooperation from these
people who only an hour be-
fore were hostile to camera-
men.”

More emphasis was placed
on a few suggestions which
Mr. Pennington hopes some
day will become a sort of
code for persons searching
for visual education mate-
rial. “I never ‘sneak,’ or
‘steal’ a picture. If a sub-
ject is positively forbidden,
I put my camera away and
make no attempt to film it.
If, as is often the case with
Indian pictures, a fee is re-
quired for taking the pic-
ture, I pay this and make
no attempt to get out of it.
‘Sneaking’ of pictures will
create ill-will among per-
sons everywhere towards
camera users and make the
barriers higher instead of
lower. If a person tells me I
may take a picture for my
own students but that I
must not have it published

LAST MONTH'S COVER . . .

was erroneously credited to Mur-
ray Beliz, whereas it should have
carried the credit line of Vernon
Smith, president of the Sierra
Camera Club, Sacramento, Calif.,
whose excellenf camera work has
captured awards in salon show-
ings throughout the nation.

! ORDER FOR SUBSCRIPTION

iHome Movies Magazine

' 12 MONTHS FOR $2,00 IN U. S.

In Canada, $3.00; Foreign — $3.00

SPECIAL OFFER: 3 Years for $5.00 in the U. S.

ME MOVIES
^60 Sunset Blvd. ^

|ollywood, Calif.

City State —

□ New □ Renewal O Gift

Send to

City State

O New D Renewal O Sift

❖

Enclosed find $. Date 19

Address —

City State

NO SUBSCRIPTIONS ACCEPTED FOR LESS THAN ONE YEAR

HOME MOVIES FOR MARCH

PAGE 145

Presenting

A MOVIE A MONTH

For 8 and 16mm Fans
A new plan entitling members to an
extremely low cost viewing service.

Complete Edition Castle Films

8mm and 16mm for Just a
Few Cents a Day

AND THAT'S NOT ALL

You receive one headline edition
free. You select it and own it.

IT'S A GREAT SERVICE

Write ISoto for Further Details

Movie a Month Association
Box 524 Reynoldsville, Pa.

The Service That Saves

camera, for detailed information, and receive
FREE 2 die-cut lens-shims for titling and
close-up work — our compliments. Only one set
to a person. This free offer expires April 15,
1941. Stamp to pay postage on lens-shims
appreciated but not required. J. B. MORGAN
CO., 5154 N. Clark St., Chicago, 111.

GIBBS

FLOOD-

GUNS

THE ONTiT flood-light that follows the camera —
models for either still or movie cameras.

ARTHUR E. GIBBS

1926 N. E. Knott S«., Dept. H Portland. Oregon

Better Pictures at Less Cost

TBnilFTT OKTHATTPE, for outdoor
ThrittV shooting . . . non-halatlon. «1 gfl

■ ,11,1 1 7 I

lAmm THRIFTY PANCHROMATIC—

lOmm. pgp ,Q3 p„|| 53.75

THRIFTY SUPER-PANCHROMATIC—

Per 100 ft. roll $4.25

California Buyers Include Sales Tax

Drawer 98, Watts Station
Los Angeles, Calif.

Use
Thri
16m
Film

THRIFTY FILMS

on Film
Recording with
the New 16mm

AURICON

Come in for a demonstration. We
add sound to your film. We do
editing and recording.

®'6-3SMM 1

• Sound
Recorders

• Cameras

• Projectors

• Screens

• Lights

CAMERA-MART,//rr.70 W.45ST.N.Y.C.

or commercialized, I am
careful to carry out his re-
strictions. I often plan on
returning to former loca-
tions, and I do not want my
bridges burned after me.

Lareful selection of a pic-
ture will often make it good
for several classes or de-
partments. The pictures of
tobacco cultivation which I
obtained has been used in
Early American History
classes to show the type of
crops the early settlers
grew; in the agriculture
classes to display cultiva-
tion methods ; in the biology
and general science classes ;
in classes studying big in-
dustries; in social study
classes who are learning
about life of people; in
classes on manufacturing;
and to classes in geography.

^l£n rei/iew6 . . .

• Continued from Page 126

A cut to the bandit shows
him demanding the cash. A
tussle ensues between the
two, ending with the bandit
killing the man with a blow
on the head with the revol-
ver, and escaping with the
cash.

Next we see the bandit
entering his room, obvious-
ly much frightened. He en-
deavors to calm his unsteady
nerves with several drinks,
but the vision of the man he
has just killed haunts him.
No matter where he looks,
the face is ever before him.
He draw's his revolver
again, this time to shoot the
image, when suddenly he
slumps to the floor, a victim
of heart attack. The picture
closes with an insert of
newspaper clipping chroni-
cling his strange death.

Photography : The entire
picture was filmed indoors,
necessitating the use of ar-
tificial lighting which was
capably handled. Particular-
ly good was the manner of
lighting face of dead man
from low angle in order to
obtain heavy eerie shadows
on face. Exposure was con-
sistently good.

Editing: Commendable.
Every scene trimmed to
minimum footage, so neces-
sary to action of this kind.
Only suggestion is short-
ening of opening. Picture
would be just as effective
with scene eliminated of
man entering room; and

All profited by this one pic-
ture.”

Probably few teachers will
become as deeply concerned
with vacation picture mak-
ing for classroom use as
Mr. Pennington. “Although
my pictures serve a dual
purpose,” he added, “they
are still treasured records
of my vacations.” But it
does seem to be more than
just a hobby with Mr. Pen-
nington, for he regularly
plans his summer vacation
jaunts according to the
course of study he expects
to follow' the coming year.
He is continually visiting
and filming places which
will be studied in his classes.
Although his text books vir-
tually plan his vacations for
him, he enjoys it, for
through the lenses of his
cameras his students are
able to go along ^yith him.

with scene of him at desk
counting money made the
opening shot.

Titling : Titles were made
with aid of typewriter, well
written, and well exposed.

Remarks: This film was
entirely home processed and
a very good job, too.

Equipment: Revere Cam-
era with f/1.9 lens; three
No. 1 photofloods in reflec-
tors.

"DOLLY'S DILEMMA" ★★★

400 feet 16mm — By A. K. B.

Continuity : This interest-
ing story was conceived es-
pecially for children. The
opening scene reveals it is
raining out-of-doors. A lit-
tle girl laments the fact,
while watching the rain-
drops splattering against
the window pane. Presently
she decides to invite some
of her friends over to play.

As her playmates arrive,
the rain has ceased falling.

TO OUR READERS

We will appreciate calling our
attention to any misleading claim
made by any advertiser in HOME
MOVIES whose product or service
proves unsatisfactory.

Should an article prove other
than advertised, or if a service is
not prompt, immediate notifica-
tion will enable us to enforce upon
the advertiser necessity of adjust-
ing his product or service to the
maximum high standard of quality
required by this publication of its
advertisers.

Movies are doubly entertaining when you
add clear, easy-to-read titles with Lafayette’s
Title Board Set. 9" x 12", it is covered with
black felt, and grooved to take the white
celluloid letters. Full instructions included.
At this low price, you can’t match it for value.
Order one TODAY! Enclose check or money
order. Be sure to ask for FREE Lafayette
catalog of extra values in home movie equip-
ment, still cameras and supplies. Wt. 3 lbs.

NEW YORK, N. Y.

100 SuUi Av«.
CHICAGO ILL.

901 W. Jackton Ilvd.
ATLANTA. GA.

26$ F*achtr»a Stratt
BOSTON. MASS.

g Lafayette Camera

NEWARK. N. i.

' JAMAICA. L. 1.

■ Latayene camera

_ Dept. 80CI— 901 W. Jackson Blvd., Chicago, III.

g or 100 Sixth Ave., New York, N. Y. g

I □ / enclose f Rush my order, g

I □ Please Rush FREE Catalog.^ g

J NAME

I ADDRESS

■ CITY^.

■ ■ ■ ■

■

HOME MOVIES

Here is a reel you cannot pass up for your own
movie library ... A professional production of a
series on "Living History." In this first release
these events are edited into a vivid story:

ir THIRD INAUGURATION OF
F. D. ROOSEVELT

•k HISTORIC ARRIVAL OF HALIFAX
★ WILLKIE'S TRIP TO ENGLAND
■k THE WORK OF NATIONAL DEFENSE

This document of America's great heritage is a
"must" for your library — a heart-warming thrill
tor your family and friends. 16mm editions are
360 feet; 8mm are 1 80 feet.

MAIL THIS COUPON TODAY!

HLmS

330 West 42nd Street, New York

Please send "Democracy at Work" in siie checked
below to:

Name.

Address

City State

□ 16mm silent, $12.50 □ 16mm sound, $25
□ 8mm, $6.50

PAGE 146

HOME MOVIES FOR MARCH

Single Frame
Exposures!

Lock Action!
Remot’c Control!

GARMUR CABLE RELEASE ADAPTOR

locks for continuous running; makes possible
single frame exposures, avoids jarring camera
when starting or stopping action. Is instantly
attached and detached, does not interfere
with loading, winding or tripod mounting.
Equipped with 10-inch cable.

$2.00 Models; Revere 88, 99; Filmo
Companion, Sportster, 141; Cine
Kodak 20, 25, 60; Keystone K8
(specify front or side button).

$2.50 Model: V ictor 3, 4, 5.

Postpaid in U. S. (plus tax in California)

See Your Dealer or Write

GARMUR PRODUCTS

P. O. i073 Metropolitan Sta., Los Angeles, Calif.

Also: MATUS CAMERA SUPPLY CO.

5208 Wilshire Blvd. Los Angeles, Calif.

FOR BEST RESULTS
ALWAYS

LOAD WITH ONYX
HI-SPEED FILM

$4.50

1.60

1.10

1 00 ft. 1 6mm ...

25 ft. 8/8mm ...

30 ft. Univex ....

Rating of 50

Reversal Free of Charge

Write for price list of all types and grades
of film. Processing chemicals for Home use.

KENWOOD FILMS

1231 E. 46th St. Chicago, III.

For GOOD PICTURES

Ask for

COMPLETE LINE OF Umm AND 8mm
CAMERA AND PROJECTION FILMS

For takin? Winter Pictures try our New Fast
ORTHO. Write for Catalog n.

At Your Dealer, or Write Direct
RIDGEFIELD PARK, N. J.

IGmm
Outdoor

Iambertint

Per 100' Roll

Fine grain safety film.
Machine-processed. Cal-
ifornia buyers include
sales tax.

HOLLYWOOOLAND
STUDIOS
Southgate. Calif.

TIME TESUD FILM PROTECTION

Against Climate. Scratches. Oil, Water, Fingermarks

vap,Q,rate

VAPORATE CO.. BELL & HOWELL CO.

130 W. 46th St. I 1801 Larchmont, Chicago

New York City 716 N Lfi Brea. Hnllvwood

DECORATED • ILLUSTRATED

k IP /A Swords

I T 1 TIE ■

X V./— MINIMUM ORDERtl'--pLUS POSTAGi
KODACHROME* TimS.MAPS.CHARTS. PRICEJ„REQU£ST

TITLE SERVICE

1600 BROADWAY -NEW YORK, N.Y.

The girl has prepared a tea
party for them, and they
play indoors. Two of the
children play doctor and
nurse. At the tea table, the
girl’s doll suffers an acci-
dent. Tea is spilled upon her
and the doctor is called. The
doctor arrives, examines the
doll, and decides she must
go to the hospital for treat-
ment.

Outside, we see the am-
bulance hurrying to the call.
A child’s toy automobile has
been rebuilt into an ambu-
lance. The doll is rushed to
the hospital, then placed up-
on the operating table where
the doctor and nurse work
feverishly over her. Soon
the doll is prescribed in good

^^mateur-Luiit

9 Continued from Page 12-!

suitcase to make it suffi-
ciently rigid to hold the
turntables and amplifier.
This was done by lining the
four sides of the case with
half-inch pine cut so it
would come within one inch
of the top of the sides. This
allowed for setting the top
panel flush with edges of the
case.

The top panel was cut
from a piece of three-quar-
ter-inch plywood. Holes
were then cut to accommo-
date turntable motors; also
an onening at the front edge
to allow for extension of the
amplifier tubes and also for
the speaker when lid was
replaced on the case. Other
holes were cut or drilled to
permit setting up of the
pickup arms, switches, and
fader. The amplifier was
mounted in the suitcase,
bottom down — that is, with
the tubes in upright posi-
tion, as shown in the photo.

Location of all units on
the panel depends of course
on the make and physical
characteristics of the vari-
ous parts. However, place-
ment of the pickup arms
should be done with care to
insure that larger 12 -inch
records may be played, and
also that the head of the
pickup will ride smoothly in
the record groove with a
minimum of scratching.

The wiring of an outfit
such as this is quite simple
and attention to the follow-
ing details will make the
task even easier and insure
success : Solder all splices
and connections with rosin-
core solder. Use both rubber

condition again, returned to
its anxious mother, waiting
outside, and the picture ends
with the little mother wheel-
ing the convalescent doll
back home.

Photograf)]nj : The open-
ing scenes showing rain
falling upon the window
pane was quite effective. All
interior shots were well ex-
posed. More frequent
change of camera would
have helped. Changing cam-
era angle often would make
the picture move more rap-
idly. Where there is lengthy
action in a scene, as with
the operating scenes in this
picture, a single setup for
the camera makes the scene
too static, with a tendency

to drag and relax interest.

Editing: Generally good.
Some scenes were a trifle
too long, as already suggest-
ed in the above photograph.
This applies also to the open-
ing. It is advisable always
to make the opening scenes
short as possible to set the
tempo for the picture, and
particularly as these scenes
generally serve only to in-
troduce cast and give a hint
of the story.

Titling: All titles were
typewritten and filmed
framed in an artistic back-
ground design. A poetic
style was followed in com-
position so appropriate for
movies of children.

turntaLfe

and friction tape to wrap
each splice. Use shielded
wire on all sound wiring.
Use only twisted par wire
on 110-volt supply lines.

By following the wiring
diagrams which appear at
the beginning of this arti-
cle, assembly of the sound
and power units may be
readily completed. The only
grounding necessary is that
of the shielding on the cable

leading to the fader control.
Ground connection may be
made between the metal
shielding and chassis of the
amplifier.

The speaker leads should
be soldered to the six-prong
female receptacle and the
receptacle then attached at
a convenient location in the
side of the case to facilitate
easy connection with plug at
end of speaker cable when

Movie of the Month

• Each month the editors ot HOME
MOVIES select the best picture
sent in for analysis and designate
it "The Movie of the Month." This
movie is given a detailed review
and a special leader is awarded
the maker.

1940

APRIL: "El Lobo," produced by
Demetris Emanuel. A 16mm pic-
ture 400 ft. in length.

MAY: "From A to Z," produced
bv Vernon Altree, Stockton, Calif.
A 16mm Kodachrome film 400 ft.
in length.

JUNE: "Peetie," produced by
Edmund Turner, Detroit, Mich. A
16mm Animated Cartoon, 400 ft.
in length.

JULY: "Song of the Soil," pro-
duced by E. C. Denny, Buffalo,
N. Y. A 16mm Kodachrome fi'm
800 ft. in length.

AUGUST: "St. Margarets," pro-
duced by Gordon MacCormack,

Montreal, Canada. A 16mm Koda-
chrome film 400 ft. in length.

SEPTEMBER: "Angels Are Made
of Wood," produced by Herman
Bartel, New Rochelle, N. Y. An
8mm Kodachrome film 200 feet in
length. (Winner Lloyd Bacon Tro-
phy, 1940 Amateur Contest.)

OCTOBER: "Driftwood," pro-
duced by A. O. Jensen, Seattle,
Wash. An 8mm Kodachrome film
400 feet in length.

NOVEMBER: "Father's Time,"
produced by Raymond Fosholdt,
Long Beach, Calif. A 16mm pic-
ture, 400 feet in length.

DECEMBER: "Spokane and The
Inland Empire," produced by Bur-
ton Belknap, Spokane, Washington.
A 16mm Kodachrome picture, ap-
proximately 800 feet in length.

1941

JANUARY: "Three Wishes" pro-
duced by Earl Cochran, Colorado
Springs, Colorado. An 8mm Koda-
chrome picture, 125 feet in length.

FEBRUARY: "Happy Landing,"
produced by Mildred Caldwell,
Long Beach, Calif. An 8mm Koda-
chrome picture, approximately 400
feet in length.

MARCH: "Home Town," pro-

duced by West W. Champion,
Fresno, Calif. A 16mm picture,
1 600 feet in length.

HOME MOVIES FOR MARCH

PAGE 147

For MO V I E

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Write for folder describing
these and other Amfiles
for Miniature Negatives,
Flat Negatives, prints, etc.

AMBERG FILE & INDEX CO.

Quality Products Since 1868

1613 Duane Boulevard Kankakee, Illinois

HICH SPEED MOVIE EIEM

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Solar SUPER Outdoor 12 2.95 1.95 $1.39

Solar HI-SPEED..._ 24 5.50 3.25 2.00

Prices include 24-hour processing at SOLAR labora-
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CINE' PRODUCTS, INC.

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for new, colorful, illustrated Raven Cata-
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and new prices. Dept. HM3.

REMEMBER.. .

That finer home movie entertainment is
yours on a Raven Screen. NOW they cost
you less than ever before. See them at your
dealer today.

RAVEN SCREEN CORP.

3 1 4 East 35th St.

New York City

8mm ★ BULK MOVIE FILM ★ 16mm

Buy ^fovie Film in Bulk, spool your o\yn film, and
save $$$. This fine grain, high grade, non-halo film
(Weston 12) projects to theatre quality pictures.

100 ft. dbl. 8mm (equals 200 ft. single 8) $1.85

100 ft. single 8mm I.IO

400 ft. 16mm notched in lOO-ft. lengths.; 4.65

Camera spools’ 35c each (any camera). Processing
rates: 100 ft. 16mm, 8.5c; 25 ft. 8 /8mm. 50c. Send
postcard for free circulars on Home Processing
Equipment.

SUPERIOR BULK FILM CO.

"Home Processing Headquarters"

Dept. HM-3 188 W. Randolph St. Chicago. III.

“Professional'* Panning Made Easy!
Sensational invention allows you to ad-
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Smooth 360® panning; 160® tilt. Rigid
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Complete unit, Tripod and Head, $15.75
Write for Free Booklet to
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R. J. RACLIUSO MFC. COMPANY •

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outfit is set up for use. It is
well_ again to caution here
the importance of marking
or coding the wires to in-
sure proper connection to
terminals of the receptacle.
Crossed wires will only lead
to trouble.

After you have finished
building this unit, you’ll be
greatly pleased with its
compactness as well as its
performance. You’ll enter a
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releases

® ConUnned from Page 129

Filmed entirely as pre-
sented on the stage, the film
might sound dull, but care-
ful lighting technique, close-
ups at the right times, and
a capable cast including Sid-
ney Lumet as Jeshua, Ar-
lene Francis, Arnold Moss,
and others, make the pro-
ductions a first class motion
picture.

Broadway critics liked the
play. The film, which re-
ceived its premiere at Dart-
mouth College in January,
will receive the same com-
mendation. It is suitable for
all types of audiences.

“World in Flames” — Pro-
duced by Paramount, dis-
tributed by Films, Inc., 330
West 42nd St., New York,
N. Y. 35mm sound ; 62 min-
utes. 16mm sound prom-
ised.

This documentary film
presents the world trends
during the years following
the start of the depression
in 1929 up to the present
day. It depicts the rise of
dictatorships in a weakened
world and what the free
peoples are doing about it.

The film moves smoothly
and is well suited to any au-
dience. Fits well into the
rising trend toward patri-
otism.

’’The Private Life of the
Gannets” — (Producer not
given.) Distributed by Post
Pictures Corp., 723 Seventh
Ave., New York, N. Y.
16mm sound; 11 minutes.
For outright sale.

This is a much better than
average nature film con-
cerning the life and habits
of the gannet, large white
bird filmed off the coast of
Wales. Ample closeups and
slow motion reveal the grace
and beauty of these web-

phase of your movie-making
hobby when you can aug-
ment your silent picture
showings with a back-
ground of selected theme
music. And, after a little
while, you’ll probably add a
few sound effect records to
youi- collection of record-
ings, and these will enable
you to inject an added meas-
ure of realism into your
films.

• • •

footed, fish-eating monsters
(wing span over 6 feet).

The dive bomber may have
been patterned after this
bird as he swoops with full
force toward his prey. His
wings close at the last mo-
ment before entering the
water, and gannets have
been known to go 100 feet
below the surface.

The film is ideal for na-
ture studies, especially for
those interested in bird lore.

“Bears in Alaska” — Pro-
duced by the photographic
department under the Bio-
logical Survey, distributed
by the United States De-
partment of the Interior.
16mm sound; 10 minutes.

This wild life film was
photographed in Alaska and
depicts tlie variousk kinds
of bears native to Alaska in
their native habits and sur-
roundings. Picture shows
them getting food, playing,
etc. Interesting, well photo-
graphed, well presented.

“Bill of Rights” — Garri-
son Films announces the re-
lease of another film in the
American Historical Series
entitled “Our Bill of Rights’’
and made available the mid-
dle of February, just prior
to the observance in some
states of “Bill of Rights’’
week, February 17 to 23.

The new release, running
20 minutes on 16mm sound,
is a short movie dramatiza-
tion of the background and
nature of our Bill of Rights.
Other pictures in the series
include “Our Constitution,”
“Our Monroe Doctrine” and
“Our Declaration of Inde-
pendence.” Complete details
may be secured from Gar-
rison Film Distributors,
Inc., 1600 Broadway, New
York City.

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INTERCONTINENTAL MARKETING CORP.

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PAGE 148

HOME MOVIES FOR MARCH

2 VICTOR
“250”
Clamp
Units were
used to
light this
group,
clamped to
tops of
doors at
both sides
of the
camera.

•

Here's How to
Illuminate Groups

With VICTOR Lights

• •

This, and other illustrations
describing lighting arrange-
ments for indoor pictures, with
instructions for using VICTOR
Lighting Equipment, are pro-
vided in our 61st annual folder.
Write for it to secure latest in-
formation about these amaz-
ingly effective photographic
lights — or consult your dealer.

He can supply or procure any
VICTOR Unit you may want.

JAMES H. SMITH &

SONS CORP.

3 1 0 Lake Street Griffith, Indiana

HOW TO MflKt
HOME MOVIE

GADGETS

Do you get a lot of pleasure from building
your own home movie gadgets? Then here
is the very book you want. Chock full of
ideas for gadgets for 8mm and 16mm cam-
eros and projectors — things easy for any
amateur to make.

HDME MOVIE
GADGETS

AND HOW TO MAKE THEM

$1 .00 "‘'‘T

■ postpaid

Nearly 100 pages profusely illustrated
with photos and sketches telling how to
moke gadgets and accessories for cameras;
for making wipe-offs and fades; title mak-
ing; editing and splicing; and a host of
others.

No theories — every gadget tested and
proven by an advanced amateur. The plans
and specifications alone of just one of the
gadgets is easily worth the price of the
book. Limited printing on first edition.
Order now!

VER HALEN PUBLICATIONS

6060 Sunset Blvd., Hollywood, Colif.

• Continued from Page 112

eras, color supplies, projec-
tors and every other type
of photographic equipment.
Designed as the first sup-
plement to the 1941 Foto-
shop Almanac Catalog and
including a Catalog Revi-
sion Section and complete
descriptions and prices of
recent new additions to the
photographic field such as
the Kodak Ektra, Kalart
Compak, Acre Projector,
Flash Brownie, Argoflash,
Amco Focusing Spot, etc., it
is now being mailed to all
registered catalog owners.

Other photo fans inter-
ested in securing a copy
without charge are invited
to write to Fotoshop’s Cata-
log Department K, 18 East
42nd Street, New York
City, or call at either of
Fotoshop’s Two Stores, 18
East 42nd Street or 136
West 32nd Street, New
York City.

Democracy At Work

Films Incorporated, na-
tional distributors of 16mm
major films, announces a
new production, “Democ-
racy at Work,” which is the
first in a series on the sub-
ject of “Living History.”
Unlike the newsreel type of
reporting film this is filmed
as a documentary, boiling
down recent news events
into fundamental facts and
conclusions as they apply
to the defense of America.
Among the many interest-
ing scenes are the 3rd in-
auguration of President
Roosevelt, the historic ar-
rival of Lord Halifax, Wen-
dell Willkie’s trip to Eng-
land, and summary of na-
tional defense activities.

16mm silent and sound as
well as 8mm prints are
available for home purchas-
ers. The length of this sub-
ject is one reel. Full details
may be secured from deal-
ers or from Films Incorpo-
rated, 330 W. 42nd Street,
New York.

Hy-Pan Reversible

Agfa-Ansco Corporation
report increasing interest
on the part of amateurs
everywhere in their Hy-
Pan reversible film, avail-
able in both 8mm and 16mm
widths. Fully panchromatic

and of moderate emulsion
speed, this film is ideal for
all outdoor work in that it
is highly responsive to all
filters. Excellent results are
reported by 8mm and 16mm
amateurs alike who have
used Hy-Pan for their win-
ter movies. Price of Hy-Pan
is moderate and includes
processing.

Fotofade

Craig Movie Supply, Los
Angeles, have acquired na-

With no more equipment
than a panchromatic safe-
light, any photographer can
increase the speed of a film
from two to four times
right in his own darkroom.
“Latensification,” the name
describing this new process,
is an outgrowth of the re-
search being done by Du-
Pont Film Manufacturing
Corporation on high speed
35mm films.

This method of hyper-sen-
sitization bids fair to be-
come an outstanding devel-
opment in the art of pho-
tography. It opens whole
new fields of subject mate-
rial to a camera owner. He
can take action pictures
with lighting conditions
now considered impossible.
In many instances, extra
lights and tripods can be
dispensed with altogether.
Where they are used, they
become much more effec-
tive.

The process amounts to
nothing more than deliber-
ately fogging an exposed
film with the rays from a
dark green safelight. The
maximum latent image in-
tensification occurs when
the film is fogged over a
period of from 25 to 40 min-
utes, at a distance of 5 to 10
feet from the safelight.

In practice some experi-
mentation may be necessary
to arrive at the condition
that will produce the great-
est increase in speed. How-
ever, once determined these
remain constant and the
effect of “Latensification”
may be repeated again and

tional distribution rights to
Fotofade, a chemical in
soluble form for making
fades on 8mm or 16mm
films after the picture is
made. Fotofade offers the
only known method of mak-
ing fades in this manner.
Said to be easy and quick to
use, no special equipment is
necessary. The Fotofade
compound is dissolved in
plain water and the film
slowly immersed in it for
the length of fade desired.
One bottle is sufficient for
hundreds of applications.
Fotofade is on sale at prin-
cipal photo dealers through-
out the United States, ac-
cording to the distributor.

again with very uniform
results.

Films intensified in this
manner may be processed
in any “negative” develop-
er. The only departure from
routine technique is a 50 to
75 per cent increase in de-
veloping time to offset the
loss in contrast resulting
from “Latensification.”

Exposures have been
made at film speeds far in
excess of four times normal
where “Latensification” has
produced negatives that
would yield satisfactory
prints. But it is suggested
that before attempting this
extreme sensitization some
experience be gained with a
speed increase on the order
of four times normal.

“Latensification” may al-
so be applied to reversal
films under proper control
conditions with consequent
effective speed increases.
Some contrast decreases
have been noted at times. It
is not always possible to
compensate for such con-
trast decreases as occur by
further development in re-
versal process, as such de-
velopments are often push-
ed considerably anyway.

This procedure should be
approached with some cau-
tion with reversal films and
can hardly be recommended
except in those cases where
the process is adequately
under the control of the per-
son applying the treatment.
In some of the emulsions
which have been tested, a
doubling of speed has been
obtained.

cjCatendi^icahon

HOME MOVIES FOR MARCH

PAGE 149

Director

ARIZONA

PHOENIX: Phoenix Movie Club — Fred
T. Summerfield, Sec’y> 754 E. Culver
St.

TEMPE: Tempe Cine Club (8mm and
16mm) — • Howard Lindly, Sec’y> 103
E. 5th St. Meet 2nd Wednesday.

CALIFORNIA

ALHAMBRA: La Casa Movie Club (8mm
and 16mm)- — H. P. Carnahan, Pres.,
21 S. Garfield. Meet 3rd Monday each
month.

AZUSA: Sunkist Movie Makers of the San
(iabriel Valley (8mm and 16mm) —
Elbert B. Griffith, Sec’y, 708 E. Bonita
Ave. Meet 1st Monday each month.

BERKELEY : Berkeley Amateur Motion
Picture Club — Micky Ambrose, Sec’y,
1719 E. 15th St., Oakland.

BURLINGAME: Peninsula Home Movie
Club (8mm and 16mm) — Thomas J.
Branson, Jr., Sec’y, 125 Lorton Ave.
Meet 1st and 3rd Tuesdays, Burlingame
Recreation Hall.

EL MONTE: Cine Club (8mm and 16mm)
— Mrs. Pegge Leahy, Sec’y, Anderson
Photo & Gift Shop.

EL SEGUNDO : South' Bay Camera Club
— Heath L. Martz, Vice-Pres., 314)4
Virginia St.

FRESNO: Fresno Movie Makers — R. C.
Denny, Sec’y, 750 Vassar Ave.

GLENDALE: Snicker Flicker Club (8mm
and 16mm) — N. Johnson, Sec’y, 1847
Pelanconi Ave.

HANFORD: Kings Camera Club — G.

Meldrum, Pres., 206 W. Grangeville
Blvd.

HAYWARD: Hayward Cinema Club (8mm
and 16mm) — Harvey Reed, Jr., Sec’y,
230 Pearce St. Meet 2nd and 4th
Thursdays.

HERMOSA BEACH : Amateur Movie Club
of Hermosa Beach — Robert Balfour,
Producer.

HIGHLAND PARK: Highland Park 8mm
Club (8mm) — Howard Timmons, Sec’y,
4530 W. Avenue 41. Meet 2nd week of
month.

LOMITA: Lomita Cine Club — Cecil L
’Thomas, 516 4th St., San Pedro.

LONG BEACH: Long Beach Cinema Club
(8mm and 16mm) • — • Raymond Fosh-
oldt, Sec’y, 134 W. Broadway. Meet
1st and 3rd Wednesday each month at
Y.W.C.A.

LOS ANGELES: Los Angeles 8mm Club
■ — Leo Caloia, Sec’y, 143 West Avenue
28. Meet 2nd Tuesday each month.

Los Angeles Cinema Club (8mm and
16mm) — Wm. Hight, Sec’y, 361 N.
Formosa Ave. Meet 1st Tuesday each
month.

Northeast Home Movie Club (8mm and
16mm) — D. C. Wh'ite, Pres., 5632 N.
Figueroa St. Meet 3rd Friday each
month.

Southwest 8mm Club (8mm) — Mrs. W.
B. Blanchard, Sec’y, 2127 Glendon Ave.
Meet every 3rd Tuesday.

LYNWOOD: Southern Cinema Club (8mm
and 16mm) — Don Hunt, Sec’y, 3522
Firestone Blvd., South Gate, Calif.
Meet 4th Tuesday each month.

NORTH HOLLYWOOD: North Holly-
wood Cine (ilub (8mm and 16mm) —
Ted Knight, Sec’y, 4873 Lankershim
Blvd. Meet 1st Tuesday each month.

NEW CLUBS FORMING

• Announced In this column
each month is Information re-
garding new amateur cine clubs
or Reel Fellows chapters being
formed throughout the country.
Readers interested in joining
any one are requested to com-
municate with the organizing
secretary listed below:

PARK RIDGE, ILL— New cine
club for 8mm and 16mm movie
amateurs being organized by
Glenn E. Webster, 1010 South
Crescent Ave., Park Ridge.

OMAHA, NEB. — New 8mm
cine club being organized by
Harry W. Sage, 3508 North
24th St., Omaha.

UTICA, N. Y. — Amateur
movie club for 8mm and 16mm
fans now being formed by Reel
Fellow Hibbard G. Williams,
2001 Whitsboro St., Utica.

• Amateur movie makers interested in
joining a cine club may make inquiry
of the secretary of the club nearest
their vicinity whose headquarters are
given on this page.

If you are interested in forming a
new cine club, HOME MOVIES will be
glad to assist you. You are invited to
write to the editors for free data that
will be of assistance to you in organiz-
ing a club.

Listing of additional clubs will be
made to this directory from time to time

as the data is received from club secre-
taries. Every amateur cine club in the
United States, Canada, and Mexico is
invited to participate. Clubs not as yet
listed are requested to furnish the nec-
essary information for listing.

Stars indicate clubs from whom club-
produced films are available to other
clubs on exchange basis on payment of
transportation charges.

This directory is emother of HOME
MOVIES' exclusive services for the
amateur movie maker.

NORWALK: The Tri City Movie Club
(8mm and 16mm) — Bert P. Teets,
Sec’y, 804 Pine. Meet 1st and 3rd Wed-
nesdays of the month.

OAKLAND : Bay Empire 8mm Movie Club
(8mm) — R. J. Shattock, Sec’y, 4132
Opal St. Meet 2nd and 4th Wednesday
of month.

The Greater Oakland Motion Picture Club
(8mm and 16mm) — B. F. Pratt, Sec’y,
2039 Shattuck Ave., Berkeley. Meet
2nd and 4th Monday each month.

PASADENA: Pasadena Movie Club (8mm
and 16mm) — Lloyd G. Rittenhouse,
Sec’v, 748 S. Marengo Ave. Meet 3rd
Wednesday each month.

POMONA: Pomona Valley Club — T. J.
Hebert, 155 S. Garey St.

RED BLUFF : Tehame County Movie Club
(8mm and 16mm) — Hank Schafer,
Sec’y, 415 Madison St. Meet every 3rd
Thursday of the month.

SACRAMENTO: Sacramento Movie Club
(8mm and 16mm) — Wilfred Meacham,
Sec’y, c/o Associated Oil Company.
Meet 1st Thursday of month.

Sacramento Movie Forum — Harold N.
Richards, Sec’y, 2427 W St.

Sierra Camera Club (8mm and 16mm) —
John Pardee, Sec’y, 1207 K St. Meet
2nd Tuesday and last Thursday.

SAN DIEGO: San Diego Cinema Club
(8mm and 16mm) — G. E. Taylor, Sec’y,
4522 Utah. Meet 2nd and 4th Wednes-
day each month.

SAN FRANCISCO: Cinema Club of San
Francisco (8mm and 16mm) — Edwin
L. Sargent, 1980 Washington St. Meet
3rd Tuesday each month.

8-16mm Movie Makers (8mm and 16mm)
— Margaret Bauer, 1080 W. 17th St.
Meet 1st and 3rd Thursday each month.

Cinemachanics Club of San Francisco —
W. T. O’Dogherty, Sec’y, 1625 Lark St.

Golden Gate Cine (31ub (8mm and 16mm)
— Helen Hawkins, 666 Edinburgh St.
Meet 1st and 3rd Wednesdays.

Sherman Clay Movie Club (8mm and
16mm) — Mrs. Kathryn Allbin, 47 White
St. Meet 3rd Wednesday each month.

Silver Screen Players of San Francisco
(16mm) — Bette Byers, Sec’y, c/o Eric
Mawson, 237_Woolsey St.

Westwood Movie Club of San Francisco
(8mm, 9)4mm and 16mm) — Eric Un-
mack, Sec’y, 1944 Ocean Ave. Meet last
Friday each month at Community Build-
ing, Ocean Ave. at Granada Ave.

Western Union Movie Club (8mm) —
L. W. Plenry, Sec’y, 3260 (Tough St.
Meet 1st Tuesday each month.

SAN JOSE: The San Jose Movie Club —
George Olcese, 415 N. 19th St.

SANTA ANA: Orange County 8mm Club
(8mm) — Jack Kahler, Sec’y, 1512
Dresser St.

8-16 Movie Makers — Thelma Heath, 1028
Hickory St. Meet 1st and 3rd Thurs-
days.

S’TOCKTON: Port Stockton Cine Club
(8mm and 16mm) — K. R. Oliver,
Sec’y, 345 N. San Joaquin. Meets 2nd
and last Thursday of each month.

Stockton Cine Club Harold Liddicoat,
Sec’y, 11 S. Hunter St.

TORRANCE; Torrance Camera Club (8mm
and 16mm) — C. E. Moses, 1872 218th
St. Meet 2nd and 4th Wednesdays.

VALLEJO: Vallejo Movie Club (8mm and
16mm) — Adeline Boule, Sec’y, 717 Am-
ador St. Meet 1st and 3rd Mondays.

WHITTIER: El Rancho Camera Club
(8mm and 16mm) — Mabel Beck, Sec’y,
2241 Valle Drive, La Habra. Meet at
Murray Ranch, Whittier.

COLORADO

DENVER: Bell Movie and Camera Club
of Denver (8mm and 16mm) — E. H.
Eroddy, Sec’v, 931 14th St.

Denver Cine 8mm Clu’o — Preston Hop-
kins, Sec’y, 631 E. Colfax St. Meet
2nd Monday each month.

CONNECTICUT

BRIDGEPORT: Monogram Movie Club.

BRISTOL: Bristol Cinema Club — Earle
H. Sparks, Pres., 20 Good St. Meet 2nd
Thursday each month.

HARTFORD: Hartford Amateur 8mm

Camera Club (8mm) — George Me-
Gauley, Sec’y, 1214 Main St.

Nutmeg Film & Reel Club- — ^ J. Philip
Earley, Sec’y, 138 Main St.

MANCHESTER: Tire Manchester Cinema
Club — Mrs. Thos. Hooey, Sec’y.

NEW BEDFORD: Greater New Bedford
Movie Club — Percy Lord, Sec’y.

NEW HAVEN: The 8mm Movie Club of
New Haven (8mm) — Syd Sidebottom,
Sec’^ 29 May St., West Haven. Meet
3rd Tuesday each month.

STAMFORD: Stamford Cinema Club — R.
Taylor, Sec’y, 65 South St. Meet 3rd
Wednesday.

TARRINGTON : Tarrington Cinema Club.

WATERBURY: The Brass City Chapter
of Reel Fellows (8mm) — Luke Czarny.
Sec’y, 26 Lyons Court.

DISTRICT OF COLUMBIA

W.-\SHINGTON : National Capital Cinema
Club (16mm) — Geo. D. Lane, 738
Numsey Bldg. Meet 2nd Thursday.

Washington Society of Cinematographers
(8mm and 16mm) — Wilbur F. Com-
ings, Sec’y, War College Dept. Meet
1st and 3rd Mondays.

Washington 8mm Club — Milton J. Pike,
Sec’y, 1905 Locust Grover, Silver
Springs, Md. Meet 2nd Wednesday
each month.

FLORIDA

JACKSONVILLE: Jacksonville Moviemak-
ers (8mm and 16mm) — 350 St. James
Bldg. Frank M. Linville, 424 W. 17th
St.

GAINESVILLE: Orange State Camera

Club — Earl H. Jernigan, Pres., Box
587. Meet every other Tuesday.

MIAMI: Miami Camera Club — Alfred

Kahn, Sec’y.

Miami Movie Makers (8mm and 16mm)
— Mrs. Paul Hockett, Sec’y, 1460 N.
W. 38th St. Meet 1st and 3rd Monday
each month.

GEORGIA

ATLANTA: Atlanta Movie Club (8mm and
16mm) — Douglas Cone, Sec’y, P. O.
Box 74, Station C. Meet 1st and 3rd
Friday each month.

THOMASTON: Thomaston Movie Club —
(16mm and 8mm) — J. Lee Abernathy,
Sec’y, 308 W. Main St. Meet every
other Sunday.

TERRITORY OF HAWAII

HILO: The Family Movies Club — P. O.
Box 106.

HONOLULU : Honolulu Amateur Cinema
Club (8mm and 16mm) — Richard G.
Bailey, Sec’y, c/o Nuuanu Y. M. C. A.,
Fort St. Meet 1st and 3rd 'Puesdays
each month.

IDAHO

BOISE: Boise Camera Club (8mm and
16mm) — Mabel M. Sturgis, Sec’y, 1505
N. 15th St. Meet 1st and 3rd Tuesday
each month.

N.\MPA: Nampa Movie Club (8mm and
16mm) — Art French, Sec’y, c/o North-
west Photo Shop. Meet 1st Monday.

ILLINOIS

BERWYN : Suburban Amateur Movie Club
(8mm and 16mm) — John Triska, Sec'y,
2415 S. Highland Ave. Meet 1st and
3rd Mondays each month.

CAN'I'ON : Canton Movie Camera Club

(8mm and 16mm) — Lafe Drury, Sec’y,
Main and Walnut. Meet 2nd and 4th
Mondays.

CHICAGO: Camera Adventurers’ Club
(8mm) — Mrs. Frank H. Crowe, Sec’y,
6508 N. Richmond St.

Chicago Cinematographers — S. F. War-
ner, 1538 Marengo .\ve.. Forest Park.
Meet 1st Tuesday each month.

Circle Camera Club, 1400 N. Clark St.
(8mm and 16mm) — E. T. Etges, Sec’y.
Meet every 4th Wednesday.

Commonwealth Edison Camera Club —
Arnold R. Hatch, 72 W. Adams St.,
Room 737.

Lane 'Tech Movie Club — A. P. Heflin,
Sec’y, 2501 Addison St.

Metro Movie Club of Chicago — Kenneth

L. Harbour, 1440 Thorndale Ave.

e Clubs.

Shutter Snapper Club • — Faith Church,
Pine and Augusta.

Southeast Cine Club (8mm and 16mm) —
B. Fox, Sec’y, 6900 Jeffery Ave. Meet
2nd and 4th Mondays each month.

South Side Cinema Club (8mm and
16mm) — Caroline Hetzner, Sec’y, 7321
St. Lawrence Ave. Meet 2nd and 4th
Wednesday each month.

Triangle Cinema League of Chicago (8mm
and 16mm) — Leo Brooks, Sec’y, 1528
S. Harding Ave. Meet Sunday after-
noons, once or twice a month.

Westlawn Cinema Club — Walter Seng-
stock, Sec’y. 1517 S. Kostner Ave.

Windy City hlovie Club (8mm) — Eddy
Moore, Sec’y, 5449 W Ohio St. Meet
last Thursday each month.

EVANSTON : Northwestern .-\mateur Club.

HOMEWOOD: 3H Camera Club, Movie
Division — George Durand, Sec’y, 1750
Linden Rd.

OTTAWCA.: Ottawa Cine Club — C. F.

Grover, Sec’y.

PEKIN: Pekin Cinema Club (8mm and
16mm) — Howard E. ililler, Sec’y,
Box 262. Meet every other Monday
nieht.

PEORIA: Peoria Cinema Club, Inc. 8mm
and 16mm) — Mrs. H. C. Rodenhouser,
Room 805 Alliance Life Bldg. Meet
every 3rd Tuesday.

ROCKFORD: Rockford Movie Makers

(8mm and 16mm) — Betty Knudson,
Sec’y, 1411 4th Ave. Meet 1st Monday
each month.

ROCK ISLAND; Tri-City Cinema Club
(8mm and 16mm) — Albert N. Mueller,
M.D., 550 26th St. Meet 4th Friday
each month.

INDIANA

ELKHART: Conn Camera Club — Flor-
indo Viti, Sec’y, Conn Entertainment
and Athletic Ass’n.

FORT W’AYNE: Fort Wayne Amateur
Cinema Club (8mm and 16mm) — B. J.
Olander, Sec’y, 2560 E. Brook Dr.
Meet 2nd Monday each month.

FORT W.AYNE: The Fort Wayne Movie
Club (8mm and 16mm) — L. R. Bran-
deberry, Sec’y, 1406 Kitch St. Meet
2nd Monday each month.

H.AMMOND : Calumet Movie ilakers(8mm
and 16mm) — Gladys Patrick, Sec’y,
5411 Price PI. Meet every 3rd Monday.

INDIANAPOLIS: Indianapolis Amateur

Movie Club (8mm and 16mm) — Al-
fred F. Kaufman, Sec’y, 4623 N. Ar-
senal Ave. Meet 1st and 3rd W'ednes-
days each month.

Indianapolis Bell Camera Club (8mm and
16mm) — E. J. Rohrman, 2242 Union

St-

Public Service Company Camera Club —
James Genders, Sec’y, 4935 WC 11th St.

Super-Art Productions of Indianapolis —
W. Stuart Bussey, 17 E. St. Joseph St.

VINCENNES: Vincennes Camera Club
(8mm and 16mm) — Robert M. John-
son. Meet 1st Thursday.

IOWA

DES MOINES: Y. M. C. A. Movie and
Camera Club of Des Moines (8mm and
16mm) — Mary H. Platt, Sec’y, 3223
2nd St.

NEW^TON : Newton Amateur Cinema Club
(8mm and 16mm) — Merlin D. W'illis,
Sec’y, Box 665. Meets 2nd Monday
each month.

SIOUX CITY : Amateur Cinema Club of
Sioux City (8mm and 16mm) — Don
Goodwin, Sec’y, 3733 7th Ave. Meet
3rd Tuesday each month at Ilunt
School.

KANSAS

PRA’I'T : Camera Club (16mm and 8mm)
— Benjamin F. Henry, First Presby-
terian Church.

WICHITA: Wichita Amateur Movie Club
— Mrs. Martin Lentz, Sec’y, Martin
W’. Lentz Co.. Ill W'. William St.

MARYLAND

P.\RKVILLE: Parkvilic Amateur Cinema
Club (8mm and 16mm) — G. E. .Vro.
Sec’y, 2806 Linwood Ave.

MASSACHUSETTS

ATTLEBORO: Attleboro Movie Club —
Francis J. O’Neil. 37 Pleasant St.

BOSTON ; Boston Cinamateur Club (8mm
and 16mm) — 5 Dartmouth St. Meet
2nd and 4th Mondays.

HOLYOKE: Prospect Movie Camera Club
(8mm and 16mm) — Henry M. Bader,
Sec’y, 19 Charles St. Meet 1st Monday
each month.

LOWELL: Lowell Amateur Cinema Club
— Leslie R. Lawson, Sec’y, 311 W'est-
ford St.

LYNN : Greater Lynn Camera Club, Movie
Division — Max llurwitz, Sec’y, 46
Central Square.

NEW BEDFORD; Greater New Bedford
Movie Club — Jim Whittaker, Sec’y.

PAGE 150

HOME MOVIES FOR MARCH

Directory

ARIZONA

PHORNIX: Phoenix Movie Club — Fred
T. Summerfield, Sec’y, 754 E. Culver

TEMPE: Tempe Cine Club (8mm and
16mm) — Howard Lindly, Sec’y, 103
E. 5th St. Meet 2nd Wednesday.

ARKANSAS

EE DORADO : The Camera Club of El
Dorado (8mm and 16mm) — J. H. Hol-
loway, Sec’y, 604 W. Hillsboro, St.
Anne Apts. No. D.

CALIFORNIA

•\LH.-\MBR.A : La Casa Movie Club (8mm
and 16mm) — H. P. Carnahan, 1004 K-
Main. Meet 2nd Monday each month.

AZUSA: Sunkist Movie Makers of the San
Gabriel Valley (8mm and 16mm) —
Elbert B. Griffith. Sec’y, 708 E. Bonita
Ave. Meet 1st Monday each month.

BERKELEY : Berkeley Amateur Motion
Picture Club — Micky Ambrose, Sec’y,
1719 E. IMh St., (Oakland.

BURLINGAME: Peninsula Home Movie
Club (8mm and 16mm) — Thomas J.
Branson, Jr., Sec’y, 125 Lorton Ave.
Meet 1st and 3rd Tuesdays, Burlingame
Recreation Hall.

EL MONTE: Cine Club (8mm and 16mm)
• — ^Mrs. Pegge Leahy, Sec’y, Anderson
Photo & Gift Shop.

EL SEGUNDO: South' Bay Camera Club
— Heath L. Martz, Vice-Pres., 314)4
Virginia St.

FRESNO: Fresno Movie Makers — R. C.

Denny, Sec’y, 750 Vassar Ave.
GLENDALE: Snicker Flicker Club (8mm
and 16mm) — N. Johnson, Sec’y, 1847
Pelanconi Ave.

HANFORD: Kings Camera Club — G.

Meldrum, Pres., 206 W. Grangeville
Blvd.

HAYWARD: Hayward Cinema Club (8mm
and 16mm) — Harvey Reed, Jr., Sec’y,
230 Pearce St. Meet 2nd and 4th
Thursdays.

HERMOSA BEACH: Amateur Movie Club
of Hermosa Beach — Robert Balfour,
Producer.

highland PARK: Highland Park 8mm
Club (8mm) — Howard Timmons, Sec’y,
4530 W. Avenue 41. Meet 2nd week of
month.

INGLEWOOD: Inglewood Movie Club
(8mm and 16mm) — ■ Benton L. James,
Sec’y, 411 W. Spruce St. Meet 1st and
3rd Fridays.

LOMITA: Lomita Cine Club — • Baney C.
Rieff, Sec’y, Box 652.

LONG BEACH: Long Beach Cinema Club
(8mm and 16mm) — Raymond Fosh-
oldt, Sec’y, 134 W. Broadway. Meet
1st and 3rd Wednesday each month at
Y.W.C.A.

LOS ANGELES: Los Angeles 8mm Club
(8mm) — Betty Barney, 138 N. Kilkea
Dr. Meet 2nd Tuesday each month.

Los Angeles Cinema Club (8mm and
16mm) — ^ Jack Shandler, Sec’y-Treas.,
553 S. Western Ave. Meet 1st Tuesday
each month.

Northeast Home Movie Club (8mm and
16mm) — D. C. Wh'ite, Pres., 5632 N.
Figueroa St. Meet 3rd Friday each
month.

Southern Cinema Club (8mm and 16mm)
— Bill V. Fisher, Sec’y, 3911 Missouri
Ave., South Gate. Meet 4th Tuesday
each month.

Southwest 8mm Club (8mm) — Mrs. 'P. H.
jeffers, Sec’y, 2920 W. 82nd St., Ingle-
wood. Meet every 4th Tuesday.

LYNWOOD: Southern Cinema Club (8mm
and 16mm) — Don Hunt, Sec’y, 3522
Firestone Blvd., South Gate, Calif.
Meet 4th Tuesday each month.

NORTH HOLLYWOOD: North Holly-
wood Cine Cllub (8mm and 16mm) —
"Ted Knight, Sec’y, 4873 Lankershim
Blvd. Meet 1st Tuesday each month.

NORWALK: The Tri City Movie Club
(8mm and 16mm) — -Bert P. Teets,
Sec’y, 804 Pine. Meet 1st and 3rd Wed-
nesdays of the month.

OAKLAND: Bay Empire 8mm Movie Club
(8mm) — R. J. Shattock, Sec’y, 4132
Opal St. Meet 2nd and 4th Wednesday
of month.

The Greater Oakland Motion Picture Club
(8mm and 16mm) — B. F. Pratt, Sec’y,
2039 Shattuck Ave., Berkeley. Meet
2nd and 4th Monday each month.

The Movie Grafters (8mm and 16mm) —
Mrs. Clarence L. Brooks, Sec’y, 363
Orange St. Meet Piedmont Hotel, 3451
Piedmont Ave., each 3rd Monday.

PAS.ADENA: Pasadena Movie ()lub (8mm
and 16mm) — Lloyd G. Rittenhouse,
Sec’v, 748 S. Marengo Ave. Meet 3rd
Wednesday each month.

POMONA: Pomona Valiev Club — T. J.
Hebert. 155 S. Garey St.

RED BLUFF: Tehame County Movie Club
(8mm and 16mm) — Hank Schafer.
Sec’y, 415 Madison St. Meet every 3rd
Thursday of the month.

Clubs

• Amateur movie makers interested in
joining a cine club may make inquiry
of the secretary of the club nearest
their vicinity whose headquarters axe
given on this page.

If you are interested in forming a
new cine club, HOME MOVIES will be
glad to assist you. You are invited to
write to the enters for free data that
will be of assistance to you in organiz-
ing a club.

Listing of additional clubs will be
made to this directory from time to time

Stars indicate clubs from whom club-
produced films are avMIable to other
clubs on exchange basis on payment of
transportation charges.

This directory is another of HOME
MOVIES' exclusive services lor the
amateur movie maker.

SACRAMENTO: Sacramento Movie Club
(8mm and 16mm) — Wilfred Meacham,
Sec’y, c/o Associated Oil Company.
Meet 1st Thursday of month.

Sacramento Movie Forum — Harold N.
Richards, Sec’y, 2427 W St.

Sierra Camera Club (8mm and 16mm) —
John Pardee, Sec’y, 1207 K St. Meet
2nd Tuesday and last Thursday.

SAN DIEGO: Ryan Camera Club (8mm
and 16mm) — A. C. Edmiston, 3553
Polk.

San Diego Cinema Club (8mm and 16mm)
— (J. E. Taylor, Sec’y, 4522 Utah. Meet
2nd and 4th Wednesdays each month.

S.VN FR.VNCISCO: Cinema Club of San
Francisco (8mm and 16mm) — Francis
Hedrick, 89 Manor Dr. Meet 3rd Tues-
day each month.

Cinemachanics Club of San Francisco —
W. T. O’Dogherty, Sec’y, 1625 Lark St.

8-16mm Movie Makers (8mm and 16mml
— Margaret Bauer, 1080 W. 17th St.
Meet 1st and 3rd Thursday each month.

Golden Gate Cine Club (8mm and 16mm)
— Helen Hawkins, 666 Edinburgh St.
Meet 1st and 3rd ’(Vednesdays.

Sherman Clay Movie Club (8mm and
16mm) — Mrs. Kathryn Allbin, 47 White
St. Meet 3rd Wednesday each month.

Silver Screen Players of San Francisco
(16mm) — Bette Byers, Sec’y, c/o Eric
Mawson, 237 Woolsey St.

Westwood Movie Club of San Francisco
(8mm, 9)4mm and 16mm) — Eric Un-
mack, Sec’y, 1944 Ocean Ave. Meet last
Friday each month at Community Build-
ing, (Dcean Ave. at Granada Ave.

Western Union Movie Club (8mm) —

L. W. Henry, Sec’y, 3260 Gough St.
Meet 1st Tuesday each month.

SAN JOSE: The San Jose Movie Club —
George Olcese, 415 N. 19th St.

SANTA ANA: Orange County 8mm Club
(8mm) — Jack Kahler, Sec’y, 1512
Dresser St.

8-16 Movie Makers — -Thelma Heath. 1028
Hickory St. Meet 1st and 3rd Thurs-
days.

STOCKTON : Port Stockton Cine Club
(8mm and 16mm) — K. R. Oliver,
Sec’y, 345 N. San Joaquin. Meets 2nd
and last Thursday of each month.

Stockton Cine Club — Harold Liddicoat,
Sec’y, 11 S. Hunter St.

TORRANCE: Torrance Camera Club (8mm
and 16mm) — C. E. Moses, 1872 218th
St. Meet 2nd and 4th Wednesdays.

VALLEJO: Vallejo Movie Club (8mm and
16mm) — Adeline Boyle, Sec’y, 717 Am-
ador St. Meet 1st and 3rd Mondays.

WHITTIER: El Rancho Camera Club

(8mm and 16mm) — Mabel Beck, Sec’y,
2241 Valle Drive, La Habra. Meet at
Murray Ranch, Whittier.

COLORADO

DENVER: Bell Movie and Camera Club
of Denver (8mm and 16mm) — E. H.
Eroddy. Sec’y. 931 14th St.

Denver Cine 8mm Club — Preston Hop-
kins, Sec’y, 631 E. Colfax St. Meet
2nd Monday each month.

CONNECTICUT

BRIDGEPORT: Monogram Movie Club.

BRISTOL: Bristol Cinema Club — Earle
H. Sparks, Pres., 20 Good St. Meet 2nd
Thursday each month.

HARTFORD: Hartford Amateur 8mm

Camera Club (8mm) — George Mc-
Gauley, Sec’y, 1214 Main St.

Hannony Cine jiats (8mm) — Paul Quin-
tin, 169 Madison St.

Nutmeg Film & Reel Club — J. Philip
Earley, Sec’y, 138 Main St.

M.ANCHESTER : 'I’he Manchester Cinema
Club — Mrs. Thos. Hooey, Sec’y,

NEW BEDFORD: Greater New Bedford
Movie Club — Percy Lord, Sec’y.

NEW HAVEN: The 8mm Movie Club of
New Haven (8mm) — Syd Sidebottom,
Sec’jq 29 May St., West Haven. Meet
3rd Tuesday each month.

NORTH GROSVENORDALE: 'Thompson
Cinema Club (8mm and 16min) — Rav
Carignan, Sec’y. Meet 4th' Wednes-
day each month.

STAMFORD: Stamford Cinema Club — R.
Taylor, Sec’y, 65 South St. Meet 3rd
Wednesday.

'PORRINGTON: Torrington Cinema Club.

WATERBURY: The Brass City Chaptei
of Reel Fellows (8mm) — Luke Czarny,
Sec’y, 26 Lyons Court.

DISTRICT OF COLUMBIA

WASHINGTON: National Capital Cinema
Club (16mm) — Geo. D. Lane, 738
Numsey Bldg. Meet 2nd Thursday.

Washington Society of Cinematographers
(8mm and 16mm) — Wilbur F. Com-
ings, Sec’y, War College Dept, ileet
1st and 3rd Mondays.

Washington 8mm Club — Milton J. Pike,
Sec’y, 1905 Locust Grover, Silver
Springs, Md. Meet 2nd Wednesday
each month.

FLORIDA

GAINESVILLE: Orange State Camera

Club — Earl H. Jernigan, Pres., Box
587. Meet every other Tuesday.

JACKSONVILLE: Jacksonville Moviemak-
ers (8mm and 16mm) — 350 St. James
Bldg. Frank M. Linville. 424 W. 17th
St.

MIAMI: Miami Camera Club — Alfred

Kahn, Sec’y.

Miami Movie Makers (8mm and 16mm)
— Mrs. Paul Hockett, Sec’y, 1460 N.
W. 38th St. Meet 1st and 3rd Monday
each month.

GEORGIA

A'fLANTA: Atlanta Movie Club (8mm and
16mm) — Douglas Cone, Sec’y, P. O.
Box 74, Station C. Meet 1st and 3rd
Friday each month.

'THOMASTON: Thomaston Movie Club —
(16mm and 8mm) — J. Lee Abernathy,
Sec’y, 308 W. Main St. Meet every
other Sunday.

TERRITORY OF HAWAII

HILO: 'The Family Movies Club — P. O.
Box 106.

HONOLULU : Honolulu .-Xmateur Cinema
Club (8mm and 16mm) — Francis Wil-
liams, 4740 Farmers Rd. Meet 1st and
3rd Tuesday each month.

IDAHO

BOISE: Boise Camera Club (8mm and
16mm) — Mabel M. Sturgis, Sec’y, 1505

N. 15th St. Meet 1st and 3rd Tuesday
each month.

N.'\MPA: Nampa Movie Club (8mm and
16mm) — Art French, Sec’y, c/o North-
west Photo Shop. Meet 1st Jlonday.

ILLINOIS

BRRWYN : Suburban Amateur Movie Club
(8mm and 16mm) — John Triska, Sec’y,
2415 S. Highland Ave. Meet 1st and
3rd Mondays each month.

CANTON : Canton Movie Camera Club
(8mm and 16mm) — Lafe Drury, Sec’y,
Main and Walnut. Meet 2nd and 4th
Mondays.

CIIIC.VGO: Camera Adventurers’ Club
(8mm and 16mm) — Mrs. Leslie Leh-
man, Sec’y, 4933 N. California.

Chicago Cinema Club (8mm and 16mm)
— Isidore Vise, Pres., 20 No. Wacker
Dr. Meet every Thursday night.

Chicago Cinematographers — S. F. War-
ner, 1538 Marengo Ave., Forest Park.
Meet 1st Tuesday each month.

Circle Camera Club, 1400 N. Clark St.
(8mm and 16mm) — E. J. Etges, Sec’y.
Meet every 4th Wednesday.

Commonwealth Edison Camera Club —
Arnold R. Hatch, 72 W. Adams St..
Room 737.

Lane 'Tech Movie Club — A. P. Heflin,
Sec’y, 2501 Addison St.

Metro Movie (jlub of Chicago — Kenneth
L. Harbour. 1440 Thorndale Ave.

Shutter Snapper Club — Faith Church,
Pine and Augusta.

Southeast Cine Club (8mm and 16mm) —
B. Fox, Sec’y, 6900 Jeffery Ave. Meet
2nd and 4th Mondays each month.

South Side Cinema Club — .Mice M. Stig-
ers, 3825 W. 66th PI.

Triangle Cinema League of Chicago (8mm
and 16mm) — Leo Brooks, Sec’y, 1528
S. Harding Ave. Meet Sunday after-
noons, once or twice a month.

PAGE 254

HOME MOVIES FOR MAY

Directory Of Amateur Cine Clubs.

Twin Eight Cinema Guild (8mm) —
Charles Byron McDaniel, Sec’y, 737 N.
Michigan Ave.

Westlawn Cinema Club — Walter Seng-
stock, Sec’y» 1517 S. Kostner Ave.

Windy City Movie Club (8mm) — Eddy
Moore, Sec’y. 5449 W Ohio St. Meet
last Thursday each month.

HOMEWOOD; 3H Camera Club,^ Movie
Division — George Durand, Sec’y, 1750
Linden Rd.

OTTAWA : Ottawa Cine Club — C. F.

Grover, Sec’y.

PARK RIDGE : Northwestern Camera
Club (8mm and 16mm) — Glenn E.
Webster, Sec’y, 1010 S. Crescent Ave.

PEKIN : Pekin Cinema Club (8mm and
16mm) — Howard E. Miller, Sec’y,
Box 262. !Meet every other Monday
night.

PEORIA; Peoria Cinema Club, Inc. 8mm
and 16mm) — Mrs. H. C. Rodenhouser,
Room 805 Alliance Life Bldg. Meet
every 3rd Tuesday.

ROCKFORD: Rockford Movie Makers

(8mm and 16mm) — Betty Knudson,
Sec’y, 1411 4th Ave. Meet 1st Monday
each month.

ROCK ISLAND: Tri-City Cinema Club
(8mm and 16mm) — Albert N. Mueller,
M.D., 550 26th St. Meet 4th Friday
each month.

INDIANA

ELKHART: Conn Camera Club — Flor-
indo Viti, Sec’y, Conn Entertainment
and Athletic Ass’n.

FORT WAYNE: The Fort Wayne Movie
Club (8mm and 16mm) — L. R. Bran-
deberry, Sec’y, 1406 Kitch St. Meet
2nd Monday each month.

HAMMOND: Calumet Movie Makers(8mm
and 16mm) — Gladys Patrick, Sec’y.
5411 Price PI. Meet every 3rd Monday.

INDIANAPOLIS : Indianapolis Amateur

Movie Club (8mm and 16mm) — Al-
fred F. Kaufman, Sec’y, 4623 N. Ar-
senal Ave. Meet 1st and 3rd Wednes-
days each month.

Indianapolis Bell Camera Club (8mm and
16mm) — E. J. Rohrman, 2242 Union
St.

Public Service Company Camera Club —
James Genders, Sec’y, 4935 W. 11th St.

Super-Art Productions of Indianapolis —
W. Stuart Bussey, 17 E- St. Joseph* St.

VINCENNES: Vincennes Camera Club

(8mm and 16mm) — Robert M. John-
son. Meet 1st Thursday.

IOWA

DES MOINES: Y.^M. C. A. Movie and
Camera Club (8mm and 16mm) — Mrs.
Geo. W. (iushman, Sec’y, 3425 Witmer
Pkwy. Meet 2nd and 4th Tuesdays.

NEWTON : Newton Amateur Cinema Club
(8mm and 16mm) — Merlin D. Willis,
Sec’y, Box 665. Meets 2nd Monday
each month.

SIOUX CITY: Amateur Cinema Club of
Sioux City (8mm and 16mm) — Carl
Gustafson, Jackson Plotel. Meet 3rd
Tuesday each month at Hunt School.

KANSAS

PRATT: Camera Club (16mm and 8mm)
— Benjamin F. Henry, First Presby-
terian Church.

WICHITA: Wichita Amateur Movie Club
(8mm and 16mm) — Miss Juanita Pri-
both, Sec’y, 3916 E. Lewis.

KENTUCKY

COVINGTON ; Northern Kentucky Cine
Club (8mm and 16mm) — Fred Lond-
weh, Sec’y, 1056 Gramp St.

LOUISVILLE: Louisville Movie Club —
Harold Rhodenbaugh, Courier Journal.

MARYLAND

PARKVILLE: Parkville Amateur Cinema
Club (8mm and 16mm) — G. E. Aro.
Sec’y, 2806 Linwood Ave.

MASSACHUSETTS

ATTLEBORO : Attleboro Movie Club —
Francis J. O’Neil, 37 Pleasant St.

BOSTON : Boston Cinamateur Club (8mm
and 16mm) — 5 Dartmouth St. Meet
2nd and 4th Mondays.

HOLYOKE: Prospect Movie Camera Club
(8mm and 16mm) — Henry M. Bader,
Sec’y, 19 Charles St. Meet 1st Monday
each month.

LOWELL: Lowell Amateur Cinema Club
— Leslie R. Lawson, Sec’y, 311 West-
ford St.

LYNN : Greater Lynn Camera Club, Movie
Division — Max Hurwitz, Sec’y, 46
Central Square.

NEW BEDFORD : Greater New Bedford
Movie Club — Jim Whittaker, Sec’y.

PITTSFIELD: Berkshire Museum Camera
Club (8mm and 16mm) — A. C. Hin-
dle, Sec’y, 19 North St. Meet 2nd Wed-
nesday each month.

SOUTHBRIDGE : Southbridge Amateur

Movie Makers Club (8mm and 16mm)
— Joseph R. Seremet, Sec’y, 124 High-
land St. Meet 2nd Friday each month.

MICHIGAN

BATTLE CREEK: Photographic Society
of Battle (Treek (8mm and 16mm) —
Neil E. Elliott, Sec’y, 215 Fairfield
Ave.

DETROIT : Detroit Society of Cinematog-
raphers (8mm and 16mm) — Ruth Mul-
vena, 12663 Roselawn Ave. Meet 4th
Monday each month at McGregor Li-
brary.

FLINT ; Flint Amateur Movie Club (8mm
and 16mm) — Eunice H. Knapp, 1703
Detroit St. Meet 1st Wednesday each
month.

GRAND RAPIDS: Grand Rapids Amateur
Movie Club (8mm and 16mm) — C. A.
Storm, Sec’y, 1026 Thomas S.E. Meet
1st Tuesday each month at 52 Monroe
Ave.

JACKSON : Jackson Amateur 8mm Cam-
era Club (8mm) — LUa O. Redinger,
Sec’y, 1040 S. Jackson St. Meet 3rd
Friday each month.

KALAMAZOO : Kalamazoo 8mm Cinema-
togr^hers (8mm) — Grant Kinch, Pres.,
806 S. Park. Meet 1st and 3rd Thurs-
days.

LANSING: Capitol Movie Club (8mm and
16mm) — Frank Weinert, Sec’y, 200 S.
Magnolia. Meet 2nd Monday each
month.

Lansing Amateur Movie Club (8mm and
16mm) — R. Briggs, Sec'y, 316 Leslie
St. Meet 1st and 3rd Wednesdays.

LAPEER: Lapeer Cinema Club (8mm and
16mm) — Peter Skeberdis, Sec’y, 1665
Imlay City Rd. Meet 3rd Tuesday of
each month.

PONTIAC; ★ Pontiac Amateur Cinematog-
raphers (8mm and 16mm) — Welton J.
Jones. 583 E. Tennyson. Meet 1st Mon-
day each month.

SAGINAW : The Saginaw Movie Club

(8mm and 16mm) — Clarence R. Kreu-
ger, Sec’y, P. O. Box 671. Meet every
other Thursday.

ST. CLAIR: The St. Clair Camera Club —
(8mm and 16mm) — S. A. Cartright,
Vice Pres. Meet every 1st and 3rd
Monday.

MINNESOTA

AUSTIN: Austin Camera Club (8mm and
16mm) — Lon Enochson, Sec’y, 205 N.
2nd St. Meet 2nd Tuesday each month.

MINNEAPOLIS: Minneapolis Octa Cine
Guild (8mm) — A. F. Buckles, Sec’y,
5418 Edgewater Blvd. Meet last Tues-
day each month.

Minneapolis Cine Club (8mm and 16mm)
— Dr. Reinhold Ericson, Sec’y, c/o R.
A. Riebeth, P. O. Box 22, Commerce
Station, Minneapolis.

Suburban Cine Club (8mm and 16mm) —
C. Manly Berry, Sec’y, 1523 Brook
Ave. S.E. Meet last Thursday each
month.

The Gopher Amateur Movie Club (8mm
and 16mm) — Mrs. Norma Sjoquist,
4400 Nawadaha Blvd., Minneapolis,
Minn. Meet last Friday each month.

ST. PAUL: Gopher Movie Club (8mm and
16mm) — Mrs. L. T. Thiets, Sec’y, 580
Wentworth. Meet last Friday of each
month.

Metropolitan Cine Club (8mm and 16mm)
— Dr. M. Martinean, Sec’y, 6 W. 6th
St. Meet 1st and 3rd Wednesdays each
month.

St. Paul Amateur Movie Makers (8mm
and 16mm) — Walter Gayman, Sec’y,
314 W. Kellogg Blvd. Meet 1st and 3rd
Tuesday each month.

MISSOURI

KANSAS CITY : The Jayhawk Movie Club
8mm and 16mm) — J. B. EHing, Jr.,
Pres., 710 Minnesota Ave.

Kansas City Cinema Club (8mm and
16mm) — Mrs. John C. Sherard, Sec’y,
2450 Agnes St. Meet 2nd and 4th Wed-
nesdays.

ST. JOSEPH; St. Joseph Amateur Movie
Camera Club (8mm and 16mm) —
Ruthanna Beard, Sec’y, 610 E. Mis-
souri Ave. Meet 2nd and 4th Wednes-
days.

ST. LOUIS: Amateur Motion Picture Club
of St. Louis (8mm and 16mm) — Miss
Eloise Koch, Sec’y, 2738 Accomac St.
Meet 2nd Wednesday each month.

MONTANA^

BILLINGS: Billings Movie Club — Louis
M. Moos, Sec’y, 311 Wyoming.

NEW JERSEY

BAYONNE: Bayonne Cine Club (8mm and
16mm) — Thos. A. Dolan, Sec’y, 232
Danforth Ave., Jersey City. Meet 2nd
and 4th Fridays.

CLIFTON : Clifton Cinema Club (8mm
and 16mm) — J. G. Elgersma, Sec’y,
43 Sears PI.

EAST ORANGE: Cinema Club of the Or-
anges (8mm and 16mm) — Gordon T.
Butz, Sec’y, 480 Clifton Ave., Newark.
Meet 3rd Friday each month,

maple SHADE: The Wedgewood-Draper
Club (8mm) — William Hoover, Sec’y.
Meet 2nd and 4th Wednesdays.

MAPLEWOOD: The Maplewood Amateur
Movie Club (8mm and 16mm) — Mrs.
Fred W, Miller, Sec'y, 13 Rynda Rd.

MILLBURN; Gibraltar 8mm Club (8mm)
— M. H. Sanders, 85 Greenwood Dr.

NUTLEY : ★Cinemen Club of North Essex
(8mm and 16mm) — J. E. Nestell,
Sec’y, 18 Shepard PI. Meet 3rd Thurs-
day each month.

PASSAIC: Passaic Y. M. C. A. Cinema
Club.

TRENTON : Trenton Movie Makers (8mm
and 16mm) — Jules Y. Shein, Sec’y,
521 S. Warren St. Meet either 1st or
2nd Friday each month.

NEW YORK

ALBANY : Albany Cine Camera Club (8mm
and 16mm) — A. J. Young, c/o Albany
Hdwe. & Iron Co. Meet 2nd Tuesday
each month.

BINGHAMTON: Cinema Club of The

Triple Cities — Edwin Moody, Sec’y.

BRONX : Bronx Amateur Cinema Club

(8mm and 16mm) — Nicholas H. Zella,
Sec’y, 384 E. 193rd St.

BROOKLYN : Brooklyn Amateur Cine Club
— Irving Pollock, Pres., 91-01 64th
Rd., Rego Park, L. I. Meet every two
weeks.

BUFFALO : The Amateur Cinema Club of
Buffalo (6mm and 16mm) — Howard E.
Evert, Sec’y, 276 Middlesex Rd. Meet
2nd Monday each month.

Niagara Cinema League (8mm an<1 16mm)
— K. N. Hadley, Sec’y, 103 Villa Ave.
Meet 3rd Wednesday each month.

ELMIRA: Southern Tier Cinema Club

(8mm and 16mm) — Wm. J. McCarthy,
Sec’y, 504 Dewitt Ave. Meet last Fri-
day each month.

ENDICOTT: I.B.M. Cine Club (8mm and
16mm) — H. L. Read, Sec’y, Interna-
tional Business Machines Corp.

JOHNSON CITY: I. B. M. Cinematogra-
pher’s Club — W. M. Muir, Pres., R.D.
No. 2.

LONG ISLAND: Queens Cine Club (8mm
and 16mm) — Jack Jacoby, 103-17 125th
St., Richmond Hills, L. I*

MOUNT KISCO : Mount Kisco Cinemats
(16mm) — Robert F. Gowen, Sec’y,
(ihilmark Park, Assining, N. Y. Meet
1st Monday of each month.

MOUNT VERNON: Mount Vernon Movie
Makers (8mm and 16mm) — N. W.
Knight, Sec’y, 258 Westchester Ave.
Meet 3rd Tuesday.

NEWBURGH: Newburgh Amateur Cin-
ema Club (8mm and 16mm) — Robert
S. Kelly, Sec’y, 217 North St. Meet
2nd Thursday each month.

NEW YORK CITY: Graphic Photo Guild
— 1924 Washington Ave. Nat Rosen-
thal, Recording Sec’y.

Metropolitan Motion Picture Club, Inc.
(8mm and 16mm) — Robert M. Coles,
Sec’y, 35 E. 20th St. Meet 2nd Tliurs-
day each month.

New York City 8mm Motion Picture Club
— Walter C. Mills, 35 Park View Rd.,
Bronxville. Meet 3rd Monday.

Telephone (Camera Club of Manhattan —
Thos. G. Herendecn, Room 1958, 195
Broadway.

PEEKSKILL: Peekskill Sport Center, Inc,,
830 South St.

ROCHESTER: Rochester Amateur Movie
Club (8mm and 16mm) — D. W. Mac-
Farlane, cc’y, 52 Edgemond Rd. Meet
1st and 3rd Thursdays each month.
ROCKVILLE CENTER. L. L: Rockville

Amateur Cinema Club.

SCHENECTADY; Schenectady Photo-
graphic Society Movie Group (8mm
and 16mm) — E. H. MacMullen, Sec’y,
13 State St. Meet 1st Wednesday each
month.

STATEN ISLAND: Staten Island Cinema
Club (8mm and 16mm) — Frank E.
(iunnell, Sec’y, 34 Colonial Court, West
New Brighton. Meet 2nd Tuesday each
month.

Staten Island Movie Makers (8mm and
16mm) — Harry S. Wilson, Sec’y, 34
Rokeby PI.

SYRACUSE: Syracuse Amateur Movie

Makers (8mm and 16mm) — D. Lisle
Conway, 111 Ruskin Ave. Meets every
other Monday.

VALLEY STREAM, L. I.: Valley Stream
Camera Club (8mm and 16mm) — John
H. Trunk, Sec’v, 34 Cherry St. Meet
1st and 3rd Wednesday each month.

NORTH CAROLINA

MORGANTON : Morganton Camera Club,
Movie Division — Edw. H. Hairficld,
Jr,, Sec’y, Box 793.

OHIO

AKRON : Buckeye Camera Guild (8mm
and 16mm) — W. G. Marksity, Sec’y,
1080 Brown St. Meet every other Mon-
day.

CLEVELAND : Aremac Club (8mm and
16mm) — W. J. Belinger, Sec’y, Box
2401, E. Elveland Sta. Meet every 3rd
Thursday.

Cleveland Amateur Cinematographers
(8mm and 16mm) — J. J. Worz, Sec’y,
3728 W. 136th St. Meet 1st and 3rd
Wednesdays in Hotel Carter.

Cine Hobbyist Club (8mm and 16mm) —
Mrs. R. Glazer, Sec’y-Treas., Central
YMCA, Prospect and East 22nd St.
Meet every Friday night.

COLUMBUS: Columbus Movie Makers —
Arthur Robinson. Sec’y, 34 N. 3rd St.

DAYTON : Cinema Research Club (8m.m
and 16mm) — Edward A. Lucid, 1625 E.
4th St.

Dayton Cinema League — P. C. Beach.
Sec’y, 2240 E. 5th St.

FINDLAY: Findlay Camera Club — Paul
W. Miller, Sec’y, 402 S. Blanchard St.

GALION : Galion Camera Club (8mm and
16mm) — Mary Postance, Sec’y, 377
N. Market St. Meet 1st and 3rd Tues-
days each month.

HAMILTON; The Movie Makers Club —
Clinton W. Bergen, Pres., 1269 Har-
mon Ave.

MANSFIELD: Mansfield Movie Club —
Dr. L. B. McCullough, 78 Park Ave. W.

MOUNDSVILLE: Trojan Production C!o.
— • Jacquelyn Rusen, Sec’y.

MOUNT VERNON: Mount Vernon Cam-
era Club (8mm and 16mm) — Frank J.
Van Vorhis. Sec’y, 306 N. Main St.
Meet 1st and .3rd Tuesdays each month.

NEWARK: Y.M.C.A. Movie Makers (8mm
and 16mm) — C. I. Grimm, Pres., Ar-
cade Annex. Meet 1st and 3rd Wednes-
days.

NORTH CANTON: North Canton Cin-
ema Club (8mm and 16mm) — R. L.
Wearstler, Sec’y, R. D. 6, E. Maple
St. Ext. Meet 1st Friday each' month.

SPRINGFIELD: Springfield Flicker C^lub
— Alfred W. Schmid, Sec’y, 17J4 W.
Grand Ave.

TOLEDO : The Toledo Cine Club (8mm
and 16mm) — 517 Madison Ave. H.
Kline, Sec’y, 4613 Whiteford Rd. Meet
3rd and 4th Mondays.

WOOSTER: Wooster Amateur Movie

Makers (8mm and 16mm) — Howard
W. Keister, Sec’y, 218 W. University
St. Meet 3rd Monday each month.

YOUNGST(DWN: Youngstown Amateur
Movie Club (8mm and 16mm) — Fred
Deiter, Sec’y, 52 Wesley Ave. Meet 1st
and 3rd Mondays.

OKLAHOMA

NOWATA: Nowata Movie Club (8mm and
16mm) — Miss Thelma Hagan, Sec’y,
802 S. Peran St. Meet 1st Friday each
month.

OKLAHOMA CITY : Movie Makers Club
of Oklahoma City — Mary Francis,
Sec’y, 312 Fidelity Bldg.

TULSA; Tulsa Am-mo Club (8mm and
16mm) — Ralph C. Crosby, Pres., 15 S.
Sandusky. Meet 1st and 3rd Wednes-
days.

OREGON

EUGENE: Cascade Lens and Screen Club
(8mm and 16mm) — Lynn Harris, 1511
Moss St.

MEDFORD: Medford Movie Club (16mm)
— Mrs. George F. Tucker, Sec’y, 37
Kenwood Ave. Meet 3rd Saturday.

NORTH BEND: Coos Bay Camera Club
(8mm and 16mm) — ’Ernest Rollins, (Gen-
eral Delivery.

Southern Oregon Cinema Club — W. Ber-
nard Roberts, Pres., 922 Reddy Ave.

PORTLAND: Portland Cine Club, Inc.
(8mm and 16mm) — Arthur E. Gibbs,
Sec’y, 1925 N. E. Knott St.

PENNSYLVANIA

ALLENTOWN: Allentown Y. M. C. A.
Cinema Club — Aral M. Hollenbach,
Sec’y, 1229 N. 19th St.

EAST McKeesport : Amateur Cinema-
tographers of East McKeesport (8mm
and 16mm) — J. J. Carbaugh, 914 4th
St., East McKeesport.

LEBANON : Lebanon Valley Camera Club
(8mm and 16mm) — George Kline,
Sec’y, 470 N. 4th’ St.

NORRISTOWN : Mrs. Mary Leonard,

Sec’y (8mm and 16mm), 618 De Kalb
St. Meet every 3rd Monday.

PHILADELPHIA: 8-8 Club (8mm) —

Mrs. Robert H. Connor, Sec’y. 6707
Linmore Ave. Meet 1st and 3rd Thurs-
day each month.

★ The 8-16 Movie Club — Harry G. Brau-
tigam, Sec’y. 560 Marwood Rd.

HOME MOVIES FOR MAY

PAGE 255

PhiladelDhia Cinema Club (8mm and
16mm) — George A. Pittman, Sec’y,
1808 E- Tulpehocken St. Meet 2nd
Tuesday each month.

North End Cinema Club (8mm and
16mm) — R. C. Straka, Sec’y. 1711
Harpster St.. N. W. Pittsburgh. Meet
1st and 3rd Tuesdays of each month.
North Borough’s Y. M. C. A., 629 Lin-
coln Ave., Bellevue.

PITTSBURGH; Pittsburgh Amateur Cin-
ema Club (8mm and 16mm) — Miss
Rose Goldman, Sec’y, 319 Amber St.
Meet 1st and 3rd Wednesday each
month.

POTTSTOWN : Pottstown 8mm Movie

Club (8mm) — Wm. J. Weiss, Sec'y,
874 N. Charlotte St. Meet 1st 'Tuesday
each month.

RE-'\DING: Berks Camera Club (8mm and
16mra) — L. K. Clouser, 410 N. 12th' St.
Meet 3rd Tuesday each month at 611
N. nth St.

SUNBURY : Sunbury Amateur Cinema

Club (8mm and 16mm) — David Lehker
Sec’y, 346 Chestnut St. Meet 1st and
3rd Mondays.

SOUTH DAKOTA

SIOUX FALLS; Sioux Falls Amateur Cine
Club — (16mm and 8mm) — H. E. Han-
son Harold’s, 308 S. Phillips Ave. Meet
1st Monday each month.

YANKTOWN ; Yanktown Camera Club —
Arthur J. Smith, Pres., 414 Capitol St.

TENNESSEE

JACKSONVILLE; Jacksonville Movie
Makers, P. O. Box 56.

MEMPHIS; W. G. Snowden, Sec’y. Box
2073, DeSoto Station.

TEXAS

DALLAS; Dallas Cine Club (8mm and
16mm) — Mrs. E. B. Bryan, 411 S. La-
mar St.

FORT WORTH ; Movie Makers Club (8mm
and 16mm) — J. C. Duvall, Pres., 604
Burk-Burnett Bldg.

HOUSTON ; Houston Cine Club — Mrs.
Rex Brewer, Corr. Sec’y, 1501 San
Jacinto.

LUBBOCK; The Hub Cine Club (8mm) —
E. M. Copp, Sec’y, 1608 23rd St. Meet
every other Monday.

UTAH

LOGAN ; Logan Amateur Cinema Club
(8mm and 16mm) — Mrs. E. L- Han-
sen, Sec’y. Logan, Utah.

SALT LAKE CITY ; Utah Amateur Movie
Club (8mm and 16mm) — C. F. Solo-
mon, Jr., Sec’y, 1471 Browning Ave.
Meet 2nd Monday of each month.

VIRGINIA

LYNCHBURG; Hill City 8 Movie Club
(8mm) — Nowlin Puckett, Correspond-
ing Sec’y, 822 Floyd St. Meet once a
month.

NORFOLK; Norfolk Amateur Movie Club
(8mm and 16mm) — G. F. Keeley, Sec’y-
Treas., 145 Granby St. Meet 3rd Tues-
day each month.

WASHINGTON

CENTRALIA and CHEHALIS : Cine Club
(8mm and 16mm) — Arnold C. Werner,
KELA, Centralia. Meet 1st and 3rd Fri-
day each month.

EVERETT ; 'The Home Movie Club of
Suohomish County (8mm and 16mm) —
C. L. Arnold, Sec’y, Box 702B, Route
3. Meet 2nd Tuesday each month.

SEATTLE; Northwest Amateur Cinema
League — Carlos E. Grant, 915 Green
Bldg., Seattle, Wash.

Roosevelt Movie Club (16mm) — Jayne
Stokes, Sec’y, Roosevelt High School,
2032 Franklin Ave. Meet every other
Wednesday.

★ Seattle 8mm Club (8mm) — W. B. Bow-
den, Sec’y, 546 Dexter Horton Bldg.
Meet 2nd 'Tuesday each month.

TACOMA; Tacoma Cinema Club (16mm)
— Don Flag, Sec’y, 829 S. Ferry St.
Meet 4th Monday each month.

WALLA WALLA; Walla \Valla Cinema
Club (8mm and I6mm) — Cromie L.
Wilson, Sec’y, 715 Catherine St. Meet
4th Monday.

WENATCHEE; Wenatchee Cine Club
(8mm and 16mm) — Evelyn Shotwell,
Sec’y. Box 920.

YAKIMA; Yakima Amateur Movie Club
(8mm and 16mm) — William Hassell,
Pres., 1208 W. Yakima Ave. Meet 4th
Wednesday.

Amateur Movie Club ; Paul Thompson,
Pres., 709 S. 4th St.

WEST VIRGINIA

HUN'TINGTON; Huntington YMCA Ai
ateur Movie Club (8mm and 16mm)
James Warfuel, Sec’y, 629 6th St. M«
each 3rd Friday.

TRIADELPHIA; St. Vincent’s Cinema
Dietrich, Rt. 1, Box 93.

HEELING; AOhio Valley Amate
Movie Club (8mm and 16mm) — R.
Rittenhouse, Sec’y, 521 Richland Aa
Meet every other Friday.

WISCONSIN

RDND DU LAC; Fond du Lac Camera
Club (8mm and 16mm) — Miss Mildred
E. Weber. Sec’y, 333 S. Marr St. Meet
4th Monday each month.

KENOSHA ; Kenosha Movie Makers Club
(8mm and 16mm) — W. J. Dorece, 6111
33rd Ave.

MADISON; Cine 8 Club— Ruth Hoffman,
Sec’y, 535 W. Dayton St. Meet 1st
Tuesday each month.

T I T n

Backgrounds

PAGE 256

HOME MOVIES FOR MAY

CLHIiSmiD • BDVIllTmili;

EQUIPMENT FOR SALE

• BASS SAYS: A Bargain is only a bargain
when you are satisfied.

USED CAMERAS

16 mm. Simplex Magazine, F:3.5 lens, $17.50.

16 mm. DeVry, F:5.6 lens, $17.50.

16 mm. Filmo 75, Cooke 3.5 case, $30.00.

16 mm. Stewart-Warner, telescopic finder, 1-inch
F:1.5 Wollensak lens, $32.50.

16 mm. Filmo 70A, Cooke F:3.5 lens and case,
$37.50.

16 mm. Cine Kodak Model B, F : 1 .9 lens, $39.50.
16 mm. Cine Magazine Kodak, F:1.9 lens, de
luxe case, $77.50.

16 mm. Filmo 70E, like new, Wollensak 1.5 lens,

$84.50. . ,

16 mm. Filmo 70D, with 15 mm. F:2.7, 1-mch
F-1.5 and 3-inch F:3.5 Wollensak lenses and
case. $177.50.

USED PROJECTORS

8 mm. Revere Model 80, 500-watt, with case,
$49.75.

16 mm. Filmo 57, 200-watt, with case, $34.50.
Ibmm.Ampro Model A, 400-watt, with case,
i544.50.

16 mm. Bell & Howell 129C, 1600 ft., 750-watt
lamp, case, like new, $142.50.

NEW Sportsman Tripod and Pan Tilt Head, two
section, seasoned hickory, 3J4 lbs., rubber
tips, $6.95.

New Movikon 16 in stock and Telephotos.

Don't trade until you write Bass first — World's
Cine Headquarters. 84-page Cine Catalog, most
complete published, is yours on request, sound
and silent. Send for a copy.

BASS CyUVIERA COMPANY
Dept. PIC, 179 W. Madison St. Chicago, Illinois

• WIDE ANGLE lerises for Keystone or Bell
& Howell with viewfinder, $21.50. Eastman
Model EE 750-watt Kodascope, factory recondi-
tioned, $42.50. 8 mm. Bolex, p^-in. F-1.5 lens
and lp2-in. F-3.5 telephoto lens, carrying case,
list price $337.50, $195.00. Revere Turret, as
new, 2.5 lens, $45.00. Walnut case Bell & How-
ell “Utility,” as new, new type sprockets and
takeup still and reverse features, original list
price $399.00, priced at $289.50. Bell & Howell
129 projector, 1600-foot reel, list price $200.00,
our price $125.00. 750-watt Bell & Howell ST,
list price $139.00, our price $69.00 .

TOP ALLOWANCES

$39.00 allowance for your Model 50 on new
Ampro at $98.00, on new Bell & Howell at
$112.50 with 400-ft. reels. $60.00 allowance for
your Model 70 on the new 400-ft. Bell & How-
ell at $112.50 and $49.75 for your Keystone R-8
on the new Ampro at $98.00. $28.50 for your
Model 20 F-3.5 on new Perfex Magazine Load-
ing Camera at $59.50. $139.00 allowance for

your Bell & Howell 16 mm. Filmo-Master on
any new Eastman or Bell & Plowell sound ma-
chine. Full list price for your Eastman, Bell &
llowell. Revere or Keystone 8 mm. equipment
on new 8 mm. Bolex.

TRADE OFFER

shotguns, target pistols, binoculars accepted in
trade on cameras, motion picture camera, RCA
or Philco radios. Most liberal traders in the
country, established in 1914.

REPAIR SERVICE

Complete repair service on all makes shutters,
cameras, motion picture cameras and projectors.
All work guaranteed.

NATIONAL CAMERA EXCHANGE
1 1 South Fifth Street
Minneapolis, Minnesota

• NEW or used Bolex or Keystone 8 and 16
mm. outfits, extra lenses, filters, other movie
equipment. GLENN MISHLER, Warren, ^^hio.

• AURICON recorder with noise reduction,
$450.00. Would consider trade on sound Koda-
scope Special. Box 327, Terre Haute, Indiana.

• PAWNBROKERS since 1858. Bargains in
unredeemed, guaranteed movie and still cam-
eras. List free. H, STERN, 872 Sixth Ave.,
New York, N. Y.

• DEVELOPING drum, motor driven; capacity
50 ft. 16 mm.; with drying rack. Slightly used,
$12.50. Send for photograph. STERN, 645 E.
3rd, Brooklyn, N. Y.

• VICTOR 4 camera, new, perfect. Original
package. Cost $95.00, sell $59.00. Univex pro-
jector, f/1.5 lens, latest Univex camera, f/3.5,
excellent condition. Cost $54.00, sell $13.00.
REV. PHILIP LT CALZI, Wilmington, Del.

• DUPLICATE 8 mm. prints yourself on inex-
pensive positive film. Used adjustable printer
has 200-ft. capacity with light control, electric
motor drive and instructions. $29.00. W. G.
KIRKMAN. 247 E. 6th No., Logan, Utah.

• MODEL K, f/1.9, WA mount only, case,

perfect, $55.00, or trade on 70-DA or ? THOS.
PETERSON. Box 228, Tucson. Arizona.

• NEW list amazing bargains. Sound, silent,

film, equipment, accessories. Ampro, Victor pro-
jectors cheap. Rent complete sound program.
$10.00 week. ZENITH, 308 W. 44th St., New
York City.

• REVERE double eight f/2.5 lens. Like new,
$34.95. PAUL WONDERS. 153 West Market
St., Warren, Ohio.

• Ten cents per word; minimum charge, $2.00 cash with order. Closing date, tenth
of preceding month. • HOME MOVIES does not guarantee goods advertised.

• Send ads to 6060 Sunset Boulevard, Hollywood, California.

ACCESSORIES

• LARGE assortment summer bulk films. Many
bargains on cameras, projectors, accessories. Full
line Fink-Roselieve products, Britelite Truvision
Screens, full Castle Film Library. Many used
comedy bargains, all sizes. Titles, processing,
chemicals. All orders prepaid. PHOTOCRAFT.
Box 1739, Cleveland, Ohio.

• AUXILIARY Lens Kits — six supplementary
lenses of 16", 18", 20", 24", 32" and 40"
focal lengths. Can be used on all titlers

• ROYAL tripod complete with pan and tilt

top. Value $13.50, bargain $9.45. MALENA
CO., 616 Market St., Philadelphia. Pa.

• IMPORTED 1-inch f/1.5 focusing telephoto
for Keystone or Revere. Bargain at $15.00.
PAUL WONDERS, Warren, Ohio.

ACCESSORIES

• TELEPHOTO lenses. Wollensak Teltar for
your movie cameras. MALENA CO., 616 Mar-
ket St., Philadelphia, Pa.

• LAACK Polyxentar f/1.3 p2-inch focal length

lens for Keystone or Revere, like new, $40.00.
PAUL WONDERS. Warren. Ohio.

• CRAIG Jr. Editor with viewer and splicer.
Value $27.50, bargain $18.50. For 16 mm.
MALENA CO., 616 Market St., Philadelphia,
Pa.

FILM RELEASES

• FREE 16 mm. -8 mm. Silent and Sound-on-
Film Rental Library Catalogue. Films shipped
everywhere — large selection. Write today for your
copy. NATIONAL CINEMA SERVICE, 71
Telegram Square, New York City.

• ADULT FILMS, 8-16 mm. (not arts). Over
100 subjects! Lists, lens cloth, 10c. No post
cards answered. JENKINS, 392, Elmira, N. Y.

• LATEST 8-16 mm. War, Comedy, Travel, Un-
usual Subjects. Send 10c for sample and lists.
A personal service. RIO, 413-H Elmira, N. Y.

FILM RELEASES

• HOLLYWOOD productions galore! Hun-
dreds to choose from! Bulk film. Bargain lists
yours for the asking. ERWINE’S CINE
LABORATORIES, Allentown, Pa.

• SOUND and Silent Films exchanged, bought,
sold, rented. Bargains always. New Free lists.
FRANK LANE, 5 Little Bldg., Boston, Mass.

• 8 MM. FILMS! Castle, Official — 180 ft. new,
$5.50. Used, $3.85. Trade-in allowances. Ex-
cellent exchange services. RIEDEL FILMS
Dept. HM-541, 2221 W. 67th St,. Cleveland,
Ohio.

• EXCHANGE any 200-ft, 16 mm. professional
film you have (good condition) with 35c. KUS-
TIN FILM EXCHANGE, 2937 Biddle, Wyan-
dotte. Mich.

• 8 MM. FILMS FOR SALE. Popeyes, 50 feet,
$1.19; brand new comedies, 200 feet, $3.25.
Guaranteed perfect. Write for catalog. ABBE
FILMS, 1265-H Broadway, New York City.

FILMS

• NEW ULTREX non-halation films! Proc-

essed Free! Daylight loading ! Royal Ortho, 10-5,
B mm. $1.00; 16 mm. $1.75. Royal Pan, 24-16,
8 mm. $1.50; 16 mm. $3.50. Royal Pan Ex-
press, 100-64, 8 mm. $1.75; 16 mm. $4.00.

Order direct! ULTREX, P. C). Box 1245, Chi-
cago, III., or P. O. Box 1246, Hollywood, Calif.

• BE SURE! Better results assured with “Efco-
matic” machine processing. 100' 16 mm., 80c;
25' dbl. 8 mm., 40c. Insures against abrasions,
fingermarks, fogging and dirt. EFCO FILMS,
Millville, New Jersey.

• 30 FT. 8/8 mm. Scarlet Leader Safety Film,
$1.50, including processing and art titles. DUN-
LAP'S CINE SERVICVE, 2566 Cambridge St.,
DuBoistown, Pa.

• SPECIAL! 25' 8/8 mm. film, Weston 12,
non-halation, daylight loading, including proc-
essing, 85c. RITTER FILM SERVICE, 629
Lyman Ave., Oak Park, III.

TITLES

• TRADE-MARK your films! Specially de-
signed personal leaders, as big studios. Samples,
information, B. C. ROBERTSON, 3 19-H Sexton
Bldg., Minneapolis, Minn.

• TTPLE letters, backgrounds, cartoons. Com-
plete outfit. High quality, low cost. Write to-
day. LEONE, 355 E. 187th St., New York City.

• INGENIOUS new Reverse Title backgrounds
transform your simple typewritten lines into
interesting, white lettered, pictorial titles. Send
25c for sample kit. HOli.YWOOD MOVIE
SUPPLY CO., North Hollywood, Calif.

SOUND EQUIPMENT

• DUAL TURNTABLE, 78 Rev. complete with
amplifier, horn and microphone used only a
short time, will sacrifice for only $60.00.
Also can furnish dual turntables for broad-
casting into your radio set. Recorders with
Amplifier from $60.00 up cutting at either
33 1/3 or 78 revs. Blank records for record-
ing. At radio and camera headquarters —
SUMNER RADIO, 3307 W. 54th St., Los An-
geles, Calif.

PROCESSING SERVICE

• MOTION picture processing, 100' 16 mm.,
75c; 50' 16 mm., 50c; 25' 8/8 mm., 35c; 25'
8 mm.. 25c. RITTER FILM SERVICE, 629
Lyman Ave.. Oak Park, 111.

BUSINESS OPPORTUNITIES

• HIGH CLASS downtown Los Angeles loca-
tion available for camera concession on percent-
age basis. Ground floor with street window dis-
play. Address Box 30, c/o Home Movies Maga-
zine, 6060 Sunset Blvd., Hollywood, Calif.

BOOKS

• “LIGHTS and the Electrician in Motion Pic-
tures”— a handbook for lighting still and motion
pictures, by HOWARD SOUTHER, 1548 North
lludson. Hollywood, Calif.

• Are you a “beginner” in the ranks of ama-
teur movie makers? Would you like to know
how to use your camera to the very best advan-
tage, yet avoid the mistakes and wasted film
that so often results from lack of knowledge of
fundamentals of cine camera operation? Then
order a copy of “How to Use a Movie Camera.”
Just 50c. and well worth it.

Would you like to learn how to process your
own titles — what equipment to use — what ex-
posure to use — all about auxiliary lenses — title
areas, etc.? Would you like complete plans for
building a very simple and versatile home
movie titler? Then send for “How to Title
Home Movies” — the latest and one of the most
authentic books ever written on the subject.
Price $1.00 per copy. We pay the postage.

VER HALEN PUBLICATIONS
6060 Sunset Blvd. • Hollywood, Calif.

SEND til eSe i^ooLietd

. . . to increase your knowledge of movie making and equipment.
They're tree unless otherwise specified. Just write to the addresses
given or make request tor booklets wanted at your photographic
dealer's.

CASE HISTORY

of the Cine Kodak Special, de-
signed primarily for the serious
movie maker, is outlined in a
handsome spiral-bound booklet
now available from Eastman Ko-
dak Company and their retail
stores in every principal city.
Profusely illustrated, the book-
let tells more about the camera
than could be gained by inspect-
ing it personally over the cam-
era shop counter. Make request
direct to nearest Eastman Kodak
store.

8mm FANS

should have Bell & Howell’s
complete catalog of Filmo 8mm
cameras, projectors and accesso-
ries. Explained are features of
all Filmo “8” equipment, plus
some fine tips on how to make
successful movies. If not avail-
able from your Filmo dealer,
write company at 1801 Larch-
mont Ave., Chicago, 111.

EDITING MAKES

the picture and Craig makes
equipment for all phases of
movie editing. Craig splicers, re-
winds, and film viewers are de-
scribed fully in a comprehensive
booklet available by writing to
Craig Movie Supply, Los Ange-
les, Calif.

SCREENS

is the title of descriptive cata-
log containing complete screen
information with data on vari-
ous surfaces, mountings and oth-
er material information, avail-
able free to movie amateurs from
Da-Lite Screen Co., Inc., 2723
North Crawford Ave., Chicago,
111.

NEW HORIZONS

is the title of an interesting
folder issued by Harrison & Har-
rison, 8351 Santa Monica Blvd.,
Hollywood, and describing their
line of Duraline filter sets. In-
cluded is measuring strip for
calculating correct size of filter
for your camera lens.

SPRING

brings Fotoshop’s spring 40-
page bulletin of special clear-
ance values in new and used
photo and cine equipment. Copies
available by writing Fotoshop,
Inc., 18 East 42nd St., New York
City.

PROCESSING IS FUN

is intriguing title of 12-page
booklet available from Corona
Film Labs., 200 E. 34rd Street,
Brooklyn, N. Y. Gives low-down
on film processing for amateurs
plus data on necessary equip-
ment, chemicals, and formulas.

8mm AND 16mm ACCESSORIES

for Eastman Cine Kodaks are
illustrated and described in a
special booklet titled “Cine Ko-
dak 8mm and 16mm Home Movie
Equipment.” This booklet avail-
able at all Eastman Kodak stores
and their agencies.

EDUCATIONAL

Values of Audio Visual Aids in
Education is title of interesting
booklet which contains case his-
tories of experiments in Audio
Visual Education by some of na-
tion’s leading authorities. Send
10c to The De Vry Corporation,
1111 Arm.itage Ave., Chicago, 111.

!i[V[P[[« mfiDii

go to the winners in HOME MOVIES' 1941 Annual Amateur Contest this year! Four separate classifications, plus
six achievement divisions, make this the most attractive contest ever held for movie amateurs. The contest is now in
full swing! Entries are being received daily. But there is still time for you to make and enter your picture. Contest
closes September 30th!

GRAIVD PRIZE — for the Rest Picture

The Lloyd Bacon Trophy, sponsored by Lloyd Bacon, Warner Brothers-First
National Pictures director. And in addition, the First Award in the film's respec-
tive division.

SCE]\ARIO FILMS

First Award — Dual Turntables.

Second Award — Electric Exposure Meter.

Third Award — Tripod.

FAMILY FILMS

First Award — Dual Turntables.

Second Award — Electric Exposure Meter.

Third Award — Tripod.

ACHIEVEMENT AWARDS

Photography — For the best camera work, 8 mm. or 16 mm. — en-
graved trophy.

Editing — For best editing of contest picture — engraved trophy.

Titling — For best titling of contest picture — engraved trophy.

Sound — For best sound, musical, or commentary recording for a
contest picture — engraved trophy.

Technical Achievement — For best contribution during year to Ex-
perimental Cine Workshop or best technical accomplishment in
producing a contest picture — engraved trophy.

Club Achievement — For most outstanding accomplishment during
year by any amateur cine club — engraved gavel.

DOCLMENTARY FILMS

First Award — Dual Turntables.

Second Award — Electric Exposure Meter.

Third Award — Tripod.

SCHOOL-MADE FILMS

Award — Handsome engraved trophy.

CONTEST RULES

• Entries limited to 16 mm. and 8 mm. films. No 35 mm. reduc-
tions eligible. No restriction as to length or subject. You may
submit as many entries as you wish.

• Transportation on entries must be paid both ways by contest-
ant. Where return postage is omitted, film will be returned via
express, collect. All entries will be promptly returned after re-
view by judges.

• Don't wait until final week to submit your filn>s. Send them
in as soon as ready. They will be reviewed, judged, and graded
and a full report of same filed for consideration at time of final
judgment. Films should be available for a second review by
judges at close of contest if necessary.

• All entries should be titled at least to the extent of a main
title. Adequately titled films improve their standing in the con-
test. Professional or laboratory produced titles are permissible.

• Be sure to label your film reels and containers, giving your
name and address and the title of your production.

• No entry blanks are necessary. Enclose data with entry as to
camera, lens, and film used; jilso, state whether filters, tripod,
exposure meter, and any other equipment was used. This infor-
mation has no bearing on the judging, but is of interest to the
editors.

HOME MOVIES

L Y W

D ' S

MAG

I N E

M A T E U R

for better movies . . . indoors, outdoors . . . day or
night ,,, in color or in sparkling monochrome . . .

THERE'S no escaping it. Film, good film, is the root and beginning
of every cine success and satisfaction.

And "good film" is another way of saying "Cine-Kodak
Film." For Cine-Kodak Film offers uniformity, reliability, beauty,
and variety beyond the needs of merely good movie making. In
itself it is an inspiration to better movies.

Kodachrome has become the most famous of Cine-Kodak Films
because of its mastery of the world of color. But don't forget that
there are black-and-white Cine-Kodak Films of remarkable beauty
and quality, both 8 mm. and 16 mm. "Change of pace" is good
showmanship, when it's neatly, logically handled. With Cine-Kodak
Film, it need never mean a letdown in beauty and quality.

EASTMAN KODAK COMPANY, ROCHESTER, N. Y.

CINE-KODAK FILMS

Kodachrome — 8 mm. & 16 mm.

KODACHROME is the film that has given
movie makers mastery of the world of color,
indoors or out. A remarkable, beautiful,
easy-to-use film, available in two types —
regular for dayhght movies and Type A for
movies by Photoflood light. 26 mm. —
200-ft. roll (Rochester only), $16; 100-ft.
roll, $8; 50-ft. magazine, $4.65; 50-ft. roU,
$4.30. 8 mm. — 25-ft. magazine, $3.75;
25-ft. roll, $3.40. All prices include expert
Eastman processing and return.

16 mm. Black-and-White Film

SUPER-X. Here's a brilliant panchromatic
him, fuUy deserving of its great popularity.
Fast enough for indoor work if need be, its
major use is in exterior filming. Fine in
grain, sparkling in quality. 200-ft. roll
(Rochester only), $12; 100-ft. roll, $6;
50-ft. magazine, $3.50; 50-ft. roll, $3.25.

SUPER-XX. This, of course, is the speed
film, especially suited for movies indoors
by artihcial light or outdoors in poor Hght.
Excellent general quality in addihon to
great speed. 200-ft. roll (Rochester only),
$13.50; 100-ft. roll, $6.75; 50-ft. magazine,
$4; 50-ft. roll, $3.75.

SAFETY “PAN." A relahvely slow him of
good quality, ohen preferred for htles and
incidental shots. In 100-h. rolls only, at
$4.50 each.

8 mm. Black-and-White Film

SUPER-X. This is the 8 mm. speed him,
amply fast for indoor work. Fine grain, of
course, is of first importance in all 8 mm.
work. In 25-h. magazine, $2.50; 25-ft. roll,
$2.25.

“PAN.” This is the original, hne-grain,
wide latitude 8 mm. film. A superb him at
a remarkable price — $2 for a 25-h. roll.

Price 25c

YEARLY SUBSCRIPTION, $2.00

Ross Mndflrn

June . 1941

(til Vacation Number!

l\DVISORY EDITORS

R. A. K. BAUMGARDNER

Peoria Cinema Club

';TER BEZEK

Chicago Cinema Club

JAMES BIALSON

Amateur Motion Picture Club of St. Louis

MOSS BROWN

Dallas Cinema Club

EORGE BURNWOOD

The 8-16 Movie Club, Philadelphia, Pa,

,AUDE W- A. CADARETTE

Los Angeles 8mm Club

. EMERSON CLYMA

Detroit Society of Cinematographers

ISSELL A. DIXON

Pittsburgh Amateur Cinema Club

I'RIL DVORAK

Suburban Amateur Movie Club

['.THUR E. GIBBS

Portland Cine Club

Y A. HOOK

Seattle 8,mm Club

FRED F. KAUFMAN

Indianapolis Amateur Movie Club

1=. NESTELL

Cinemen Club

RCISSE A. PELLETIER

Toronto Amateur Movie Club

-BERT B. PETERSON

Metropolitan Cine Club

ME RIEBETH

Minneapolis Cine Club

JTHEO. ROTH

Sherman Clay Movie Club

O. ROUNTREE

Bay Empire 8mm Movie Club

AUL SNYDER

Norfolk Amateur Movie Club

iD E. SNYDER

Des Moines Y.M.C.A. Movie Club

F. SISSEL

Austin Movie Club

C. ENION SMITH

Metro Movie Club of Chicago

<^s Second-Class Matter, May t, 1938, at
'oitbfiice at Los Angeles, Calif., under the Act
of March 3, 1879.

cription rates; U. S. $2.00 per year. Canada
Foreign Countries, $3.00 per year. Single copies
Canadian and Foreign single copies 3Sc. Copy-
It'iO, by Ver Helen Publications. Advertising
rates on application.

a. S. Pat. Off.

Copyright 1941 by Ver Halen Publications. No part of
magazine may be reprinted without specific permission.
Member Judit Bureau of Circulations

CONTENTS FOR JUNE, 1941

it’s new to !\ie 262

BEST VACATION MOVIES PLOTTED IN ADVANCE By Russcll Dickson 269

SCENERY isn’t ALL THERE IS TO SHOOT ! — By Curtis Randall 270

BRING ’em back A LAUGH IN YOUR BEACH-VACATION MOVIES

By Warren Garin 273

SUMMER TIME IS FILTER TIMe! — By William J. Bornmann 274

MUSIC FURNISHES PLOT FOR OUTING FILM — By Maurie Webster . . 275

MOVIE OF THE MONTH By J. H. Sclioen 276

BINOCULAR-CAMERAS TO P.VTROL RACE TRACK.S By Jack Irwiri. . . 278

ALASKA CALLS THE CAMERA FAN 279

SIX FACTORS AFFECT SUCCESS OF POSITIVE TITLES

By George W . Cushman 280

BETTER MOVTES AIM OF FREE REVIEWS By the Editors 281

EXPERIMENTAL CINE WORKSHOP 286

EMULSION RATINGS FOR FILMS 288

WITH ADVANCED CINEFILMERS 293

TITLE TROUBLES — By George W. Cushman 297

INFORMATION PLEASE 299

FILTER FACTOR CHARTS 306

TITLE BACKGROUNDS 307

EDUCATIONAL AND DOCUMENTARY FILMS SECTION
LONG BEACH SCHOOL FILMS STUDENTS’ PUPPET PROJECT

By Helen Rees Clifford 282

STUDENT-MADE FILM NATIONALLY ACCLAIMED

By William S. Green, Jr. 283

NEW CLASSROOM FILMS — By Godfrey Elliott 284

REVIEWS OF SCHOOL-MADE FILMS 283

JUNE

NUMBER 6
VOLUME VIII

REEL FELLOWS

A friendly fraternity of
movie amateurs sponsored
by Home Movies Maga-
zine. Your membership is
invited.

CHAS.J. Ver HALEN C. J. Ver HALEN, JR. ARTHUR E. GAVIN

PUBLISHER ASSOCIATE PUBLISHER EDITOR

OFFICE OF PUBLICATION
6060 Sunset Boulevard, Los Angeles, Calif.

Phone GRanite 5149

NEW YORK OFFICE
Everett Gellert, 62 West 45th Street
Vanderbilt 6-5254

CHICAGO OFFICE
C. N. Burris, 712 Wrigley Building
Whitehall 7784

RAY FERNSTROM
Technical Editor

GEORGE W. CUSHMAN

J. H. SCHOEN
Associate Editors

C. E. BELL
Photographic Editor

L. C. BUSCHER
Art Director

HOLLYWOOD’S MAGAZINE FOR THE AMATEUR

PAGE 262

HOME MOVIES FOR JUNE

Movies or stills . . . black and white or color . . . you’ll bring back
a treasured photo record if you take a Master along! For with
the Master, even those unusual or difficult shots will prove
just as easy as the normal sunlit scenes. Indoors or out . . . each
and every picture you shoot will be correctly exposed.

That’s why the Master is so widely preferred as a traveling
companion. Its many exclusive features such as . . . improved
exposure dial, selective viewing angle, “high-light low-light”
scales ... all contribute in providing the flexibility and the con-
venience so essential for the widely varying light conditions
encountered in summertime.

So be sure your vacation planning includes a Master . . .
to be sure you return home with a worthwhile photo-record!
See this and other Weston models at your dealer’s today, or
write for illustrated literature. Weston Electrical Instrument
Corporation, 585 Frelinghuysen Avenue, Newark, New Jersey.

WESTON

EXPOSURE METERS

INSURE PERFECT PICTURES WITH YOUR CAMERA

Jt:

Bij CiNEBUG Shopper

Wide World

Movie of The Year “America’s Call to Arms” is the

title of a special Castle Film re-
leased May 15th which depicts in stirring, swift action
what boys and men from millions of American homes are
doing in military training throughout the nation, on the
sea, and in the air.

It can truly be called the Home Movie of the Year be-
cause it contains scenes highly interesting now and cer-
tain to be valued in years to come. Pictured above is just
one of the many scenes which show Uncle Sam’s newest
military equipment in action. Here we see the “Jeep,”
most potent land machine of the Army in mid-air as it
completes ascent of a hill. These machines attain a speed
of 80 miles per hour and will be used for mopping up
operations where lightning speed is essential.

Other action scenes show our air force in action; our
navy in tactical manuevers — in all a convincing movie
that Uncle Sam is fast preparing for any eventuality that
may arise from present world disorders.

Not only is “America’s Call to Arms” recommended as
a valuable document for the home movie library, but it is
a timely film for educational screening in the schools of
the nation.

“America’s Call to Arms” is available from dealers now
in both sound and silent versions.

Processing Kits Of especial appeal to the increasing
* number of amateurs who process their

own cine films is the Superior Home Processing Kits of-
fered by Superior Bulk Film Co., 188 W. Randolph,
Chicago.

Available are two kits: No. 1 with a capacity of 30 feet
of single 8 mm. film requiring 14 gallon of solution, and
Kit No. 2 with a capacity of 30 feet of double 8 mm. or
16 mm. film. This kit requires 1 gallon of solution.

Each kit contains a specially treated developing rack
designed to insure complete development by manual agita-
tion, a 50-foot capacity drying rack designed to compen-
sate for film shrinkage in drying, a loading stand to carry
the developing rack and drying rack, a chemical resistant
tray with a lip to pour the solutions back into your bottles,
a safe light and a viscose sponge. Nothing else to buy ex-
cept a f/2 gal. set of Superior Reversal Powders for Kit
No. 1 or a 1 gal. set of Superior Reversal Powders for Kit
No. 2. Full and complete instructions and formulae ac-
companies each unit.

NAVE SOMETHING TO SHOW FOR IT /

, . . rj}/T£ CiflOfi MOy/£S

REVERE MODEL 88
CAMERA

Has five speeds, 8, 12, 16, 24 and
32 frames per second for normal
action, ultra fast or slow-motion
movies. Its exclusive sprocket film
control forms loop automatically,
controls the take-up and prevents
gate strain. (No gate snubbing of film.) Built-in, optical viewfinder with large rear
eye piece for easy sighting. Complete with Wollensak 12.5mm F 3.5 lens in remov-
able universal focus mounting, $32.50; with fast F 2.5 lens, $44.50; with Bausch
and Lomb 12.7mm F3 lens, $37.50. Other lenses are also available; 12.5mm F 1.9,
1" F 2.7 and 1 V2 ' telephoto F 3.5 with focusing mount.

REVERE DE LUXE MODEL 85
PROJECTOR

Show your new summer movies at their finest
with this efficient Projector! Large 15-tooth
sprockets, with roller type guides, enclosed
chain and gear drive (no belts), automatic
film rewind, beam threading light, duo-shield
light diffuser, helical gear tilting device, de
luxe carrying case. Complete with 500-watt
lamp, F 1 .6 lens and carrying case, $75.00.

REVERE STANDARD MODEL 80 PROJECTOR

Is also available, complete with 500-watt lamp
and F 1 ,6 lens, $65.00.

REVERE MODEL 99
TURRET CAMERA

Offers the vacationist utmost
versatility. It has all the basic
Revere Model 85 Projector features of the Model 88, plus

a turret head for three lenses
and an extra optical viewfinder for telephoto lenses to bring
distant scenes close-up. Complete with one Wollensak 1 2.5mm
F 2.5 lens, $65.00.

WITH
THE

07mCAMERA

When you Jtring l>ack Revere color movies of your
1941 Vacation trip, you will have something to show
for it that will give you pleasure for years to come.
The Revere 8mm camera, with its /ire speeds, preci-
sion-hiiilt shuttle film movement, rotary disc shutter
and fine lens, makes action pictures that you will he
truly proud to show — movies that are brilliant.,
sharp and steady. Yon don't have to he an expert,
either! The Revere is so simple to load and use that
a school child can operate it. .\nd yet its perform-
ance will satisfy the most critical. Because it uses in-
expensive 8 millimeter film ( 10c per scene for hlack
and white; slightly more for color), you can take
plenty <>f pictures. See the Revere 8mm Camera at
your dealer's today! Mail the coupon now for new
4-color fohler!

■ REVERE CAMERA CO.

■ Dept. 6HM, 320 E. 21st St., Chicago, III.

Please send your new 4-color literature on Revere 8mm
H Cameras and Projectors. |

m Name j|

I Address

REVERE CAMERA COMPANY* CHICAGO

PHIIADEIPHIA - KANSAS CITY • MINNEAPOLIS • LOS ANGELES • OALLAS

.state.

PAGE 264

HOME MOVIES FOR JUNE I

Tte FIRST Sm.

PROJECTOR

with a

Reverse Hcl^rel: -

feaHi- Geared Mof dr C^e ' J

T^fFast Automatic Rewind ,
Micro mafic THtIng
Aufomotic Sofety Shutter

KEYSTONE

Send for literature
Keystone Mfg. Co.

8 and 16MM cameras and projectors

Boston, Mass.

Jn NEW

B & H Sound Stobilizor Announced by Bell & Howell,

Chicago, is an oscillatory
stabilizer which completely isolates the stop-and-go film
movement from the sound drum of the new Filmosounds.

Thus no variations in film speed
ever reach the scanning beam
where the sound is “taken off” the
film and “flutter” is eliminated.

The announcement goes on to ex-
plain that as the film leaves the
usual second sprocket, it passes
through the new oscillatory stabil-
izer, where any remaining irregu-
larities in film flow, no matter how
minute, are first reduced to a still
lower degree and are then com-
pletely absorbed from the film flow
by an oscillatory movement operat-
ing on the principle that opposing
forces that are equal, cancel each
other. Thus, it is claimed, only a constant, even flow of
film can reach the sound drum and the scanning beam.
B & H claim that in this manner, the cause of sound “flut-
ter” is killed at the source, and that Filmosound reproduc-
tion of music and the spoken word reaches the ear with a
new fidelity, smooth and even to a degree hitherto un-
known.

For further information, write to the Bell & Howell
Company, 1801 Larchmont Avenue, Chicago, Illinois.

U. S. Lens Dstfl ^ method by which expert amateur
photographers can determine the re-
solving power of camera lens has been developed by the
National Bureau of Standards, the Department of Com-
merce announces.

Since it is not practicable at the Bureau to test continu-
ally the relative merits of different types and makes of
photographic lenses, a set of charts and simple test meth-
ods to be used at home are offered. A description of a
more elaborate apparatus to be installed by camera clubs
for the same purpose is also included.

Circular C428, just released by the Bureau, outlines the
method. Twelve accurately engraved test charts are in-
cluded, which, when used in accordance with instructions,
give a measure of the resolving power of any given lens,
providing a quantitative measure for comparing the
merits of different lenses.

It is believed that this method will be of timely value,
since the introduction of the miniature camera has great-
ly stimulated interest in photography and has resulted in
the development of a large number of amateurs, among
whom are many skilled photographic technicians.

Copies of Circular C428 may be obtained from the
Superintendent of Documents, Washington, D. C., at 40
cents each.

CarrV-all Bas ^ special sale on carryall bags especially
* adaptable for cine cameras and gadgets
has recently been announced by Lafayette Camera, 100
Sixth Avenue, New York City. This carryall case, al-
though made of genuine
cowhide with a unique
“open wide” zipper top,
is, through an exception-
ally fortunate purchase,
priced far below the
usual price for this qual-
ity of bag.

While they succeeded
in making a reasonably
large purchase of these
bags, the quantity is lim-
ited, and Lafayette ad .

home movies for JUNE

PAGE 265

A 16 mm. — 8 mm. MOVIE
THAT WILL GO DOWN
IN HISTORY!

Now! America’s jireat new defense
forces . . . tlirillinglv filmed for von and
posterity in 16 mm. and 8 mm. movies!
The Armv^ . . . the Navv and Marines

. . . Uncle ham s growing air loree . . .
parachute troops . . . Panama Canal de-
fense . . . munitions factories . . . all
strijiping for action in this greatest
hour in America’s history!

Own this stirring, historic film i( you
never own another! Order from your
photo dealer today! Use liandy order
form helow.

•4-

.3^

1941 CATALOGUE describing more than

100 Castle home movies . . . World News . . . Sports
... Travel ... Fun Cartoons! Send a postcard to
your photo dealer or the nearest Castle Films’
office for your copy today!

castle riLJMS

San Francisco
Russ Bldg.

SEND THIS TO YOUR PHOTO DEALER TODAY!

I’lease send Castle Films’ ‘"Amerlea’s Call to Arms” in size
and edition clieeked.

8 mm. 50 ft. . . . $1.75

16 mm. 100 ft. . . $2.75

8 mm. 180 ft. . . . $5.50

16 mm. 360 ft. . . $8.75

16 mm. Sound on film 350 ft $17.50

[Same

Vddre'>

City

New York
RCA Bldg.

Chicago
Field Bldg.

State

IIM i>

PAGE 266

HOME MOViES FOR JUNE

HOLLYWOOD CINE PRODUCTS

3221 SOUTH FIGUEROA STREET LOS ANGELES, CALIF.

Americans Fastest
Selling Titlerl

NOTE THESE
FEATURES!

Professional Af-tachmenf .

$495

Complete with two auxiliary lenses,
celluloid target, instructions and val-
uable titling data.

LIGHT UNIT

$3.50

EXTRA

TITLEER PROFESSIONAL ATTACHMENT

A larger "field area" is created by photograph-
ing titles at a 12" distance. This larger area
allows more room tor hand lettering, printing,
drawing, and special effects. Title cards may
also be photographed at 4", 6" and 8" in addi-
tion to the 12" distance. ★★★★ Zoom titles
and superimposed titles are easily made on the
Titleer. ★★★★ Title backgrounds and anima-
tion sets appearing each month in Home Movies
are readily accommodated. ★★★★ Accurate
alignment is assured with a custom-made cam-
era base for your particular camera, eliminating
all fuss and bother in lining up titles. Bases for
all popular cameras are interchangeable on the
Titleer. ★★★★ All parts are adjustable on the
Titleer base, making it ideal for table top copy
work and ultra close-up photography. ★★★★
Titleer may be used on any tripod or suspended
in a vertical position.

INTERCHANGEABLE CAMERA BASES
MADE FOR THE FOLLOWING CAMERAS;

Bell & Howell 8mm Eastman 8mm

Revere 8mm Eastman Mag. 8mm

Keystone 8mm Bolex 8mm and 16mm

Keystone 16mm Victor 16mm

Bell & Howell 141 Eastman K

Bell & Howell 70-D Eastman E

Eastman Mag. IBr^m

ACCESSORY

KIT No. 1 Complete Kit

grounds, a translucent screen for rear projection shots and
two sheets of clear celluloid for superimposed titles.

$195

Jr. ^[W

vises that they will be unable to secure more to sell at the
present price. This is a result of the manufacturers hav-
ing been forced to discontinue them due to pressure of
orders for leather products for national defense.

Auricon “Blimp”

The Auricon Division of the E. M.
Berndt Corporation, Hollywood,
Calif., announce the marketing of a streamlined sound-
proof “blimp” for use when making direct recorded sound
films with the Eastman
Cine Special. Of special
interest to advanced cine-
filmers and those engaged
in production of indus-
trial or educational sound
motion pictures, this
blimp is designed to per-
mit the operation of cam-
era and motor in the
presence of the sound re-
cording microphone.

The Auricon blimp pro-
vides for easy access to
the camera for lens adjustment and threading of film, and
the film magazines may be removed and exchanged with-
out removing camera from the blimp. A window in side
of blimp permits checking visually the film footage while
camera is in operation. In front of blimp is window which
opens on a hinge when camera is to be focused, exposure
adjusted, or lenses changed. The window frame also acts
as a sun shade.

Further details of this interesting new item of equip-
ment is available to those who write direct to the manu-
facturer, 5515 Sunset Blvd., Hollywood.

Bulb Life Increased

With the transfer of the manu-
facture of Superflood bulbs to
Wabash’s recently acquired Birdseye Lamp Division,
where new improvements are constantly being developed,

comes the announcement
that the useful life of the
Wabash Superflood bulbs
has been materially in-
creased.

Through the persever-
ance of its engineers, the
life of the No. 1 Super-
flood has been stepped up
from its previous life
span of two hours to a
new total of three hours,
and the No. 2 Superflood,
which normally lasted six
hours, is now good for at
least eight hours !

Besides this increase in
life, tests at the Wabash
laboratory have shown that these new long-life bulbs
maintain their efficiency much better than their prede-
cessors. The usual tendency of flood bulbs to lose a con-
siderable amount of their light output after prolonged
use, has been minimized, with the result that the new
bulbs, in addition to lasting longer, also have a more effi-
cient life. There will be no increase in the price of these

bulbs.

Movie Range Finder

Goodspeed Sales Corp., 34 West
27th St., New York City, an-
nounces that the Goodspeed Cinefocus Coupled Range
Finder for movie cameras is now available for a number
of popular 16 mm. cameras fitted with f/1.5 or f/1.9 lenses.

The outstanding feature of this device lies in its ability
to permit the cameraman to shoot normal-speed films in-

HOME MOVIES FOR JUNE

PAGE 267

! doors under poor lighting conditions and secure critically ’
[I sharp focus with the speed lens at its widest aperture. i

•!j This is particularly valuable when, for example, in photo- |
graphing children in the home with the minimum of light- '
ing equipment.

The price is $24.00 plus $.3.50 installation charge for
most models of Bell & Howell Fimo and Eyemo, Keystone,

I Victor, and many other cameras. One exception is most
models of the Cine Kodak, which require a special, addi-
; tional eye-piece. The price for these is $27.50 plus $3.50 '
' installation charge.

At this time, Cinefocus Range Finders can be fitted
only to normal lenses of f /1.9 and f/1.5 speed. At some
future time, is said to be available for telephoto lenses.
Those interested in this range finder send the camera to i
Goodspeed Sales Corp. for Cinefocus installation. For fur-
j| ther details, write to the Goodspeed Sales Corp. Service
Department.

New Maxim Meter instrument Co„ Trenton,

N. J., announce the new Maxim
Model “B” exposure meter which succeeds the popular
early model of which thousands have been sold to both
still and movie camera users. Im-
provements over the original model
include : Revolving scales now made
on durable chromium plated brass
instead of celluloid. New greater
exposure range from 1/1000 to 240
seconds, graduating in half steps
and including movie camera expo-
sure settings. Stops from f 1.5 to
f/22. And new film speed range
from 1.5 to 400.

National distribution has been
assigned to Raygram Corporation,

New York City.

Hewitt Movie Titler Bransby & Hewitt have intro-
duced the Hewitt Movie Titler.
Outfit consists of 246 characters each three-quarters of an
inch tall including upper and lower case letters, numerals
and punctuation marks. Characters are precision molded I
of Kaolin composition and are three-eights of an inch in j
depth. When photographed, it is said, they create striking ;
third dimensional and shadow effects. Stick-on backs per- |
mit instant application to any surface. Hewitt Titlers are !
distributed in the east by Intercontinental Marketing Co.,
New York, and by Craig Movie Supply Co., Los Angeles,
in the west.

Multiflash Unit special interest to commercial, por-

trait, and news photographers is the
Crown Multiflash Control Unit distributed by Fotoshop,
Inc., New York City. The instrument pictured here, pro-
vides for making mul-
tiple flashlight pictures
and is capable of firing
from 1 to 40 flash bulbs
in synchronism. Regular
110 volt current is util-
ized to set off the flash
which is ample in power
to insure identical flash
period for all bulbs re-
gardless of number.

Featured is a unique
Neon circuit tester built
right into the panel which insures against mis-firing and
wastage of bulbs. The unit may be used with electromag-
netic, mechanical, and manual flash-guns or in “open and
shut” exposures. Further information is available by
writing direct to distributor.

•Summer COLOR m

ouies

Need The Greater Light Reflection

Glass- Beaded

SCREE

( Reg. U. S. Pat. Off.)

Da-Lite*s famous Glass-Beaded surface, refleetiug maxi-
uiuiu light without sparkling or glare, shows all shades,
from delicate pastels to hrilliaut reds, yellows aud blues,
with '‘‘'camera-eye^’ fidelity.

The Da-Lite Glass-Beade<l surface is ahsolutely neutral iii
character. It not only makes all pictures (color ami black
and white) brighter and clearer, hut it stays white longer.
Ask your dealer for a Da-Lite Glass-Beaded Screen! Priced
from $2.00''' up. \\ rite today for new literature listing new
low prices on many sizes!

DA-LITE CHALLENGER (shown above) — The only screen with oil of
these advanced features: "All-in-one" construction; square tubing in
tripod and extension support; height instantly adjustable by releasing
spring latch (no separote adjustments of case). 12 sizes from 30"x40"
to 70"x94', inclusive, from $12.50’^ up.

* lances sliiihlly higher on Pacific Coast.

DA-LITE SCREEN CO., INC.

DEPT. 6HM, 2723 NORTH CRAWFORD AVENUE o CHICAGO, ILL.

Photo Finish

There I was, right at the finish line
. . . when these two came down the
home-stretch neck and neck. “Will
I get it?" I kept thinking. “Will I
get it?’’

* * *

Of course he got it, and got it beauti-
fully. You could, too, on Agfa’s fast
16mm Panchromatic Reversible. This
modestly -priced film has the speed and
latitude to cover a wide range of sub-

ject material . . . plus excellent projec-
tion qualities. No wonder it’s a favorite!

For outdoor movies in which ortho-
chromatic qualities are desirable, many
16mm owners use Agfa Fine-Grain
Plenachrome Reversible. You’ll like its
brilliant contrast, wide latitude, and
full anti -halo protection. Both films
come in 100-foot rolls (at $4.50) and
50-foot rolls (at $2.75). These prices
include processing and return postage.
Agfa Ansco, Binghamton, New York.

-9 Ig^i

home movies for JUNE

HOME MOVIES

Published In Hollywood
JUNE 1941

Some of the best vacation movies are “made”
before the vacation trip begins. That is, they are
so thoroughly planned out in advance that when
shooting’s done and the films are back from the
processor’s, there remains little more to do to make
them interesting entertainment for our movie
screen.

Preparation of a vacation movie ranges all the
way from writing a scene-by-scene shooting script
to planning gag or continuity ideas that may be
used at intervals during the vacation filming, all
of which serve to lift our picture out of the medioc-
rity of pot-shot hodge podge.

Determined not to return with reels of hit-or-
miss scenes of this year’s vacation, one amateur
found a continuity idea in the photo album con-
taining Kodak shots of his last summer’s vacation
trip. His plan, already in execution, is to make
album pictures of this year’s trip come to life on
his movie screen. Not a new cinematic idea by any
means, but the manner in which this filmer adapted
it is quite novel.

“The start of my picture will show Dad inviting
Uncle Jim to see the snapshots of our trip,” this
filmer explained. “They come into the house; sit
down on the sofa ; then Dad opens the album to the
first page. My camera moves into a closeup of the
page, then to a closeup of one of the pictures. In-
stantly the picture comes to life and the scene con-
tinues, building into a short sequence with explan-
atory titles, spoken by Dad, interjected to explain
the action or locale.

“The method by which the album pictures were
made to come to life in the sequences already filmed
was by first taking a still picture of one of the
album pages with Dad’s finger pointing to one of
the photos. This shot was enlarged to 16 by 20
inches. The picture area was carefully cut out,
leaving the rest of the enlargement, including that
of Dad’s finger, representing a frame through
which my vacation scenes were filmed. The frame
was reinforced by cementing strips of cardboard
at the back and the completed frame was the only
‘prop’ taken along on the trip.

“At the beginning of each sequence, the frame
is set up in front of the camera within focusing
range. On sunlit scenes there is sufficient depth of
field so the frame appears satisfactorily sharp on
the screen. In every instance the subject is focused
upon — not the frame. It wms found that the closer

C. B. Drummond

By Russell Dickson

subject is to the frame, the better ovei’all appear-
ance of the projected picture.

“At each location where the frame is used to
open a sequence, a still picture is first made of the
scene which is to go into the album. After all of
these stills are assembled on the album pages, the
opening shots of each sequence are filmed showing
Dad pointing to a picture as already described.”

Deviously the success of this idea depend-
ed upon careful planning and preparation before
the vacation trip was started. This amateur had
no idea of what he was to film on his trip, in fact
because of the preparation he made in advance, he
didn’t need to. 'The “frame” idea fit every situation.

Another vacation filming idea that was carefully
worked out by a couple before staid of their trip
involved the simple but appealing theme of their
small son wanting to take their dog along. One of
the early scenes in the picture shows the boy ask-
ing his father’s permission, and the negative reply.

• Continued on Pape 2^)2

• The yearning of a boy
for his dog furnished o
pleasing fhrcod of hu-
man interest which was
woven through one
amateur's vacation
film to make it more
than unusually inter-
esting.

269

PAGE 270

HOME MOVIES FOR JUNE

idn t

ait tk

ere

id to

9 Many planned vaca-
tion movies will have
their beginning at
home, before the trip
gets under way, in
cleverly plotted conti-
nuities.

Going to the mountains for
your vacation? Then star the
family in your travel movie... !

By Curtis Randall

MOUNTAIN vacation offers about every-
thing a cinefilmer could want in picture material
for his camera. First, there is the long trip to the
chosen vacation spot offering endless filming op-
portunities. Driving through the mountains we
find grand vistas at every turn in the road — trees,
mountain peaks, and streams; and perhaps fleecy
cotton ball clouds scudding over the landscape.
Then, upon arrival, there is the camping site, in-
teresting new friends and possibly encounters with
friendly animals as in Yellowstone National Park
or Yosemite. Indeed, our greatest lament is fre-
quently the dearth of film. There is so much to
shoot which hardly could be anticipated, we find
our film supply depleted — and often our funds, too !
— before the most interesting incidents in our va-
cation occur.

Many of us are quite familiar with movies that
have been made under such circumstances. They
start out fairly interesting with some beautiful

Eastman Kodak Co.

shots made early in the journey, then the climax,
if such it may be called — the finish of the reel in a
series of frantic panoramas and short shots too
brief for visualization. The filmer discovered, too
late, his film supply was running low, so he
crammed as much as he could on the footage re-
maining in his camera.

As a precaution against bringing back just such
movies this summer, let’s make definite plans in
advance. First, after deciding definitely where we
are to go, let’s send away for travel folders that
will describe the important things to be seen and
the recreations offered at our selected vacation
site. Then let’s plan our film, using the travel
folder somewhat as a shooting script.

Travel folders are written to attract tourists
and vacationists and therefore the most important
scenic and recreational attractions are described
or illustrated. These are the highlights in the
script — the important lens material for our movie
camera.

Many planned vacation movies will have their
beginning at home before the trip gets under way
in cleverly plotted continuities. A vacation movie
composed only of irrelevant scenic shots lacks in-
terest. More acceptable is the movie with a thread
of continuity running through it ; a running gag ;
or it may be neatly tied together with clever, some-
times poetic, titles. At any rate, it should tell a
story^ — have an interesting beginning and an end.

Many vacation and travel movies begin with
a series of shots depicting the packing of luggage,
loading the automobile, and the eventual start so
frequently depicted by closeups of turning wheels.
Such an opening is good provided it is not too long
drawn out — if too much footage is not given to it.
An opening sequence of this kind is best done in
montage or a series of quick, close shots.

Probably the next most frequently used medium
depicting the travel en route is the camera shots
made through the windshield from within the car.
Serious disappointment can develop here if the
camera is not held rigidly and the camera pointed
straight ahead. Shots made from side windows
turn out a blurred mass. If much shooting from
the car is anticipated, it will be time and money
well spent to rig up a substantial mounting within
the car on which to anchor the camera.

A little time spent in brushing up on exposure

Union Pacific Photo

technique will prove helpful in mountain filming.
Two things most frequently not considered are the
brilliant skies and the deep shadows of wooded
glens or highways. In those scenes in which either
predominates, an average must be struck in taking
an exposure reading; otherwise the most desired
portion of the scene may be over- or underexposed.
Haze, too, is another bogey of high altitude film-
ing, and this applies to either black and white or
Kodachrome. For panchromatic films, use an ultra-
violet filter, or one of the yellow, yellow-green, or
red filters. For Kodachrome, use the haze filter
supplied for the purpose.

In scenic shots, composition plays an impor-
tant part. Too frequently the traveling cinefilmer,
coming suddenly upon an unusual panorama, will
jump from his car, camera in hand, and shoot
away with little thought to selecting the most ad-
vantageous spot from which to film the scene.
Instead of shooting all scenes with camera on a
level, set the camera at low or high angles fre-
quently. This marks the scene as photographically
different and adds much to composition. Always
effective, too, are shots framed with overhanging
foliage or by trees of artistic stature set in the
foreground.

The angular shooting idea is also effective when
filming roadside signs, mileage markers, etc. And
one word about exposure on shooting these signs
— particularly if they are white with black letter-
ing: always underexpose slightly in order to bring
out the lettering clear and sharp. Unless you do,
glare reflected from the white background will dif-
fuse the letters.

Mentioned earlier was the suggestion for plan-
ning one’s vacation film with a semblance of plot
or continuity running through it. Here’s an inter-
esting continuity idea that was used recently to
start off a vacation picture with a bang and which
sustained audience interest until the final fadeout :

A couple — husband and wife — start out on their
vacation, car loaded with the usual baggage, fish-
ing tackle, golf clubs, etc. As they proceed along
the highway, the wife begins to worry — worrying
if she forgot anything before leaving the house.
She startles her husband with the question, “Did
you tell the milkman not to leave any milk?’’ — and
husband assures her he did. They travel a bit far-
ther, then she asks if he turned off the water
heater. Later she asks if he put her dressing set
in the bag; did he remember to telephone mother;
to tell the paper boy not to leave the paper; did he
lock the cat in the house — or leave the poor ci’ea-

• Continued on Page 296

• High in the moun-
tains is the place to
bring telephoto lenses
and filters into ploy to
secure those breath-
taking scenes thot
thrill one's cinematic
soul and bring mur-
murs of delight from
our audience.

271

'^.-sj'

» ,^-y

HOME MOVIES FOR JUNE

• Photo at left is excellent example of
increased detail to be gained by shooting
scene at right time of day. In this case,
picture was made in late afternoon, when
extended shadows added interest to scene.

Eastman Kod.au Co.

Whether you go to the beach this summer
to romp in the cooling surf, bask in the warmth of
clean beach sands, or to acquire your seashore tan
in a lazy admixture of both, there’ll be movie-mak-
ing opportunities galore for your cine camera.
Beach movies can easily be the highlight of your
entire year’s filming activity. The rolling surf, in-
teresting beach crowds, the gay colors of beach
umbrellas or cabanas, and not the least — the gay
bathing costumes — provide plenty of color whether
you film with Kodachrome or good old panchro-
matic.

Besides the gay and colorful atmosphere, of
course, there is something more important to be
considered if your movies are to prove everlast-
ingly interesting ; and here we are again, harping
on that same subject — “'plan your vacation movie
in advance.”

All right ! Suppose you aren’t a story writer ; a
plot-thinker-upper! Suppose we give you a few
ideas that will make your beach movies interest-
ing beyond the fact that they will be a movie rec-
ord of your vacation. Nowadays most of us want
to make movies that we’ll get a kick out of next
year and the year after that. So to insure this, let’s
begin and do a little constructive planning now.

If one’s desire is to make a plain documen-
tary of the vacation trip starting from the moment
the car leaves the driveway, that’s OK ; but why not
start at this point with a running gag that can be
threaded into the story as you film? For example,
if you’re the man of the house, you’ll gallantly let
the joke fall on yourself. You’re alergic to sun-
burn, and you’ve taken all necessary precautions
to avoid it during your stay at the beach. In one
of the early scenes prior to the departure you are
shown carefully putting a bottle of sunburn lotion
in your luggage. Make it a big bottle. The more
ludicrous it looks, the bigger the laugh. Add to the

-vacation

movied

By Warren Garin

• A high shot like this
is a good opener for
introducing locale of
your vacation movie.
Scenes made from un-
usual angles command
interest and elevate a
picture from the me-
diocrity of one-angle
camera shots.

things you will take along, a long-sleeved sweater,
a beach robe, a sun hat, and a pair of sun glasses.
Of course, your wife will be shown kidding you
about all of these things, but you pack them away
just the same. You “ain’t gonna get no sunburn,
vacation or no vacation” !

While unloading the things at the beach, you
drop the suitcase and break the bottle of sunburn
lotion. This means you must wear the beach robe

• Continued on Page 302

Sc/,

"’’nfc/,/

HOME MOVIES FOR JUNE

Ross Madden

or when outdoor Kodachrome is to be exposed
indoors under artificial light. But in spite of the
popularity of color film, the number of cine cam-
eraists who’ll shoot black and white film this sum-
mer is legion. Among them are the great many
who have come to use positive film as a means of
getting a little more mileage out of their cine
hobby with a minimum of drain on their pocket-
book. These are the fellows who film for fun and
care not too much about artistic results.

Mostly, the positive shooter processes his own
film and it is in this subdivision of the cine hobby
that he has found an added interest that can only
be sustained through continued use of positive
film. Naturally, having attempted to achieve with
positive everything he may formerly have accom-
plished with films of faster panchromatic emul-
sions, it is hardly startling that the positive filmer
has also experimented with filters.

I HAVE successfully used yellow, green, and
light red filters with positive film. The ideal filter
for positive, I found, is that graduated from clear
glass at the bottom to a yellow tint at the top. In
order to use this filter successfully, it should be
square cut and about 2 by 2 inches in size, as it
must be placed at least two inches ahead of the
lens in order that its graduated area will have the
desired effect upon all of the scene. Used imme-
diately in front of the lens, relatively little of the
graduation — if any at all — would affect the scene,
so narrow is the scope of the lens at this point.
Inasmuch as this type filter is not the most prac-
tical for the average amateur to use, consideration
will be given to use of the full-tint filter discs which
may be snapped over the lens.

Theoretically, any filter will hold back not only
the sky but also the foreground. If the exposure
is increased to hold detail in the foreground, then
the sky will be burned out. The solution in such
case is to use one of the lighter filters.

Let us imagine we are out in the country and we

• Continued on Page 295

• Filtered skies and
cloud effects greatly
enhance composition
of any outdoor scene,
as may be observed
from illustration above.
Photo at right is en-
largement from scene
made on positive film
in which a Kodachrome
filter was used before
the lens, proving that
filters can be used with
good results with pos-
itive film.

By William J. Bornmann

W ITH summer comes a re-kindling of inter-
est in filters — those colorful little discs of glass
which may be placed before the camera lens to
make it do magic things to the emulsion on the
film. To many amateurs, the use of fil-
ters has always seemed an advance step
in cinematography fraught with uncer-
tain results. And this uncertain feeling
has, as its origin, the many technical
treatises and discussions that are far
too little understood by the man only re-
cently coming into ownership of a movie
camera.

With the increasingly wider use of
Kodachrome film, there are many cine
fans who care not one whiUabout a filter
because color filming, with perhaps one
or two exceptions, requires no use of
filters. The exceptions are when indoor
type Kodachrome is to be used outdoors.

sumiMii Tiim^

Fiinit HIM!

274

They’re novel . . . exciting . . . fun to make
and show! That’s what you’ll say about “Home
Movlettes,” the newest diversion for amateur cine
fans. They’re the answer to that old problem : how
can I make my films more Interesting?

Imagine a streamlined four or five minute fea-
ture, synchronized to a beautiful musical score,

I and you have a hint of the thrills in store when
your first “Home Moviette” is shown to your
friends. Since much fine music conjures up color-
I fill scenes to the imagination, it is an ideal com-
panion for motion pictures. But thus far music
has been mostly used to fill in behind already com-
pleted films. With “Home Moviettes,” however, we
i borrow both mood and story from the melody and
plan our picture to match the orchestra’s sweeping
; chords, its delicate reveries. It is as if the conduc-
* tor sat down to write music especially for your
i movie. But that doesn’t mean that a “Home Mov-
[ iette” is expensive or difficult to make and, to
prove it, here’s the plot, musical data, and prepa-
! ration data for making one.

Plot: Our first “Home Moviette” is a Sunday
outing story, such as you’ve probably intended to
film, but for which you couldn’t figure a plot. Well,
that worry goes out the window, because we really
don’t need an extensive plot. A thread of conti-
nuity plus a running gag tie the scenes together ;
the family will provide fun its own way, and the
music will lift it far out of the class of other
pictures.

Music: To begin, get the new Andre Kostelanetz

Bij Maurie Webster

"Home Moviette" ideas
originate in phono-
graph recordings

record medley of “Beautiful Dreamer” and “Mas-
sa’s in de Cold, Cold Ground” (Columbia record-
ing No. 7372). Kostelanetz is one of America’s
true musical geniuses today, and his arrangement
of these two Foster favorites is a superb example
of modern music. It might have been written for
such a movie as suggested here, with the rich
strains swelling from sentimental moods to bright,
carefree strains to suggest a holiday in the country.

The scenario matches each change in the
music to produce an amazing result on the screen.
Listen, as you play the record, to the way the
music tells our story. Incidentally, this “Home
Moviette” has been so constructed you can make
scene changes that will adapt it to your own needs
so long as the basic time structure is maintained.

Preparation: Immediately following the scenario
is complete information for preparing and sjm-
chronizing film and record — a process which re-
quires no expensive equipment and not a great
deal of time. Sound too easy? Well, it’s true!

Main title: “LET’S HAVE A PICNIC!”

Note : Each of the following sequences is marked

• Continued on Page 301

• Sunday picnics are
fun; more so when they
call for home movies of
the event. But think of
the added punch when
such movies ore filmed
with a plot inspired by
o musical recording —
then screened in ac-
companiment with the
music!

275

By J. H. SCHOEN

• Reproduced above
are enlargements of
frames from 16 mm.
Kodachrome movie,
"Tropical Ecstasy" —
a document of tropical
fish highlighted with
an extraordinary se-
quence of a battle be-
tween fighting fish
which are shown in the
fifth and sixth photos.
In the sixth photo, the
conqueror may be seen
starting a "stuka" dive
toward his opponent at
bottom of aquarium.
A moment later, the
battle was over.

“H

JJilAMA in a Fishbowl” might well have
been the title of “Tropical Ecstasy,” the 16 mm.
Kodachrome movie which has been selected as the
Movie of the Month for June, for drama it is — a
piscatorial seven-round bout between two fighting
tropical fish, ending in death for one of the adver-
saries.

Dr. R. E. Gerstenkorn, Beverly Hills Reel Fellow,
will be remembered by many as the producer of
another Movie of the Month, “The Cauldron,” se-
lected for this honor by the editors in January,
1940 ; and when he chose an aquarium of tropical
fish as the subject for his latest home movie, he
little realized the potentialities for making a high-
ly interesting motion picture.

The picture opens with a study of various types
of tropical fish and several scenes are devoted to
each of the species in a sequence of shots at vari-
ous angles. Informative titles precede each se-
quence, identifying each species of fish and giving
facts relating to their habits and about the trop-
ical waters in which they originate. Among the
species pictured were Convict fish, Angel fish, and
another slender, almost transparent fish which
preyed upon the offspring of others, swallowing
them whole.

Scenes of the fighting fish climax the film. These
are lovely specimens with graceful flowing fins and
tails, not unlike the fantail species of the common
goldfish variety except that the fighting fish are
more slender — built for speed. They can move
through the water at an incredible rate and stop
or turn in a split second — an adeptness necessary

to their survival in combat. It is said these fish
are so eager to fight that if two aquariums are
placed side by side and a fighting fish is placed in
each, they will jump from one aquarium to the
next in order to battle each other.

Dr. Gerstenkorn shows these fish in all their
beauty in a variety of camera angles and ultra-
closeups. One of the combatants, before entering
the affray, was a beautiful red in color. The other
was dark and bluish — almost iridescent. He proved
the victor. Not unlike two prizefighters in a ring,
the fish open their underwater bout in a series of
feints — darting swiftly at one another, then veer-
ing off just when one expects to see a blow struck.

Eventually the dark fish zooms straight for the
red fellow and nips at one of his fins. The fragment
of torn fin is plainly seen floating in the water.
Irked by this attack, the red fish whirls upon hjs
savage adversary and strikes at him, but the dark
fellow is quickly out of range and the bout settles
back into another interval of feinting.

Soon they are at it again, each fish charging
alternately. But the dark fish is the more agile,
and the drubbing accorded his opponent is evident
in frayed red fins, and their severed fragments are
seen floating in the churned water.

The dark fish charges again and this time gouges

• Continued on Page 298

(Right)

Lazy Days ... a picture photographed
on Agfa film offers suggestion for an
interesting vacation movie scene. Use
it as a main title background for your
oufing or vacafion film. If can be
filmed at a distance of 32 inches with
a I '/4-diopter auxiliary lens.

276

Carroll Photos

mnocoiniufliiiEy!;

race

Enable judges to keep eyes on
ponies, film race at same time

a record of the incident will have been completely
photographed in full detail by the one or more :
judges nearest the spot where the incident took ,
place. I

Full credit for this innovation — exclusive, inci-
dentally, at this Los Angeles track — goes to Jack
F. Mackenzie, general manager of Hollywood ;
Park. Wherever horse racing is conducted, dis-
putes are bound to occur. Frequently such disputes
reflect a bad light on the track, if not on the sport i
in general. It occurred to Mackenzie that if a com- j
plete motion picture record of each race could be :
obtained, not only would it tend to keep racing on ;
ethical standards, but full proof of a rider’s error :
could be ascertained by screening the picture. i

• Drawing shows posi-
tions of judges around
track, and field which
their cameras will en-
compass during the
running of each race.
Another master cam-
era films the race from
atop the grandstand.

278

Convinced of this, Mackenzie took his problem
to Lorenzo del Riccio, famed inventor of many im-
portant photographic devices and the man who
designed the “Photo-Finish” camera and develop-
ing apparatus capable of delivering a complete,
finished enlargement less than forty-five seconds
after the disputed horses cross the finish line. The
first experiments involved setting up a single 16
mm. camera on top of the grandstand and “shoot-
ing” the horses as they galloped around the track,
much the same as do the newsreel cameramen to-
day. But this failed to give the clear, unobscured
detail of every horse and rider so important to the
success of the scheme. With the same scene shot
from only one point of vantage, it invariably fol-
lowed that during the race many of the horses
would be partly if not wholly obscured from the
camera.

This led to placing a number of cameras
around the track, enabling each operator to record
not only a section of the race, but to secure greater

• Continued on Page 303

• Pictured above are
front and rear views of
binocular-camera per-
fected for use at Hol-
lywood Park, Los An-
geles. Below with cam-
era is Jack Mackenzie,
general manager of
track, discussing first
experiments with Lo-
renzo del Riccio, who
aided in development
of apparatus.

By Jack Irwin

W HEN devotees of the Sport of Kings watch
the ponies gallop ’round the sun-drenched oval at
Hollywood Park this summer, a new innovation
will provide a 16 mm. motion picture document of
each race — an action record of the performance of
both jockey and mount participating in each event.
Stationed in stands adjacent to the eighth-mile
posts which surround the track will be accredited
track judges with their customary high-powered
binoculars trained upon the on-
coming or receding herd of gal-
loping horseflesh. But attached
to the binoculars of each judge
will be a lightweight 16 mm.
camera recording the same
scene as viewed by him through
his powerful glasses.

Should an accident occur — a
horse stumble or a jockey be
thrown — or if there’s claim of
a foul after finish of the race.

HOME MOVIES FOR JUNE

The last of an impressed audience shuffled
out into the lobby. Midst the echo of enthusiastic
comment floating back into the auditorium, the
whirr of rewinds could be heard as Alfred Milotte
wound back the last reel of his Alaskan lecture
film. Elma, his wife (and “camera caddy” when
filming afield), snapped the buckles on the sound
outfit case, and thus ended the 21st lecture and
screening of the 16 mm. Kodachrome picture,
“Alaska’s International Highway,” a film that
started as a simple, personal record of Alaska in
color.

The lecture tour had but recently begun. Months
earlier, when the Milottes set out to follow vaguely
charted Alaskan trails in quest of picture material
for their 16 mm. camera, there was no thought iij
their minds that some day they would be touring
the United States, screening their movies to eager
audiences from coast to coast. Making movies was
just a hobby with the Milottes. Alfred Milotte had
casually taken to shooting movies to while away
time between appointments at his photographic
studio in Ketchikan.

Nor did Milotte, during earlier days spent in art
schools in Chicago, ever dream he’d be making pic-
tures with a camera instead of pen and ink or
paint brush. But fate has a way with all of us,
and eventually Milotte purchased a still camera,
switched to photographic art as a career, and a
few years later bought a small photo studio in
Ketchikan, Alaska.

Right at his elbow, of course, with kindness and
encouragement for all his dreams and undertak-
ings was Mrs. Milotte, herself a camera fan and a

Alfred Milotte

HLHSy (HLL!i «(. CDIMtH FHO

The Milottes answered
...and made a success-
ful lecture film...

Alfred Milotte

1 It'

^ ^ !

downright good photographer. Together they de-
scended upon Ketchikan, a pair of strangers from
the States eager to build a business in the one re-
maining frontier of America.

In TIME, and perhaps more because he was
constantly besieged by persistent tourists for movie
making data for that region, Alfred Milotte’s in-
terest in amateur movies grew, too. Before long
he sent away to Rochester for a Cine Special. The
days that immediately followed failed to bring a
plethora of portrait customers to Millotte’s studio,
and this afforded much time in which to shoot
movies. Not that his newly acquired business was
a failure. On the contrary, there was much in op-
portunity that needed but careful nurturing for a
year or so, and already Milotte saw one phase of
this opportunity in the increasing interest in ama-
teur movies which brought so many tourists to his

• Continued on Page 200

• The Land of the
Totem Poles offers
boundless opportunities
for good picture mak-
ing— the best in forest
and mountain panora-
mas, plus wild game
shots. Pictured at left
with his wife is Alfred
Milotte, who filmed
"Aloska's Internation-
al Highway," success-
ful lecture movie.

279

HOME MOVIES FOR JUNE

4: • , kriUiant than new

cteose exposure.

'SPEED

limit

FRAMES)

PER

5ECONOy

loop Ot 3Z splice posses 9

counting number or

kfturs oJ *hC doy

House current js“ot!hroroll

peok hour.

iD-ll|l p-72

[oerELOPtBHl iL^velOPERI

(or oil titles thereotter.

-SLr factors a^^ect iuccedS

o^ poiitiue TITLES

• In a nutshell: Any
amateur can make
good positive titles if
he'll make simple test
strips, then follow re-
ligiously the practice
that netted best results
in tests.

By George W. Cushman

“I

HAVE an 8 mm. camera with an f/3.5
lens, and a titler. I wish to make titles with posi-
tive film and two No. 1 photofloods one foot away
from title card. What exposure must I use?”

This is typical of a question that is received by
the editors more frequently than any other on the
subject of title making. The very fact this question
is asked so often indicates it is probably the first
stumbling block of the amateur titler. Unfortu-
nately, it is one to which no definite answer can
be given. There are a number of individual factors
affecting exposure for which as yet no uniform
practice has been established, or if it has, the fol-
lowing of the practice has not been uniform.

The six most important factors governing suc-
cessful making of titles -with positive film are
graphically illustrated on this page, and although
each is carefully explained in the caption beneath
the drawing, a more detailed explanation of each
factor will follow here. This discussion embraces

only that phase of title making where positive film
is used, instead of panchromatic or Kodachrome,
with photoflood lamps for illumination, and home
development of the titles with a contrast formula
— the practice most generally followed by amateur
title makers.

Obviously, the film should receive primary con-
sideration. Because of its characteristics, the other
five factors become so important. Positive film, as
most amateurs know, differs from reversal film in
that it is slower in speed and more contrasty. Also,
it possesses considerable less latitude, that is, it
has not the ability to cover a wide range of tones
and reproduce them faithfully. In short, it can re-
produce a clear white and a deep black if correctly
exposed, and for this reason an error of as much
as one stop in exposure will affect results to a
marked degree. This brings us right back to the
gist of our original question : “What, then, is cor-
rect exposure?”

It is assumed that what is desired is a title with
crisp white letters on a deep black background, a
result which positive film is best qualified to give.
But if there is to be such contrast in the finished
title, then similar contrast must exist in the title
card. In making direct-positive titles, the finished
title appears in opposite tones from that in the
title card. The title card is of white stock and the
lettering is in black. To insure the highest degree
of contrast between the two tones, the card must
be a pure white stock and of soft finish which will
not reflect hot spots of light back into the lens.

• Continued on Page 304

280

HOME MOVIES FOR JUNE

/^NY movie amateur, whether or not a sub-
scriber to Home Movies, may avail himself of the
editors’ free film review and criticism service. His
film will be carefully reviewed and rated one, two,
or three stars; or, where the film proves excep-
tional, will be designated the Movie of the Month.
An animated leader indicative of the rating is then
attached to the film and it is promptly returned,
together with a detailed review with suggestions
for improvement, if any.

In the reviews of amateurs’ films, which are
published each month, may be found many ideas
that can be adopted by other filmers. Each review
published is selected with this idea in mind. Fre-
quently errors are pointed out with suggestions
for correction which serve to guide other amateurs
over similar paths.

Look for helpful suggestions in the reviews
which follow :

mm moviES

aim

of f,

ree reviewd

• • •

"POI" ★★★

400 feet 16 mm. Kodachrome — By E. J. S.

Continuity : This is a documentary of potential
educational value on the cultivation and consump-
tion of poi — basic native food of the Hawaiians.
The picture opens with a scene of a native pulver-
izing the taro root into poi, as was the primitive
custom before the age of machinery brought me-
chanical methods that now grind the taro root
faster and thus has enabled a few natives to estab-
lish poi making as an industry.

Then the camera takes us out into beautiful
farming regions of Hawaii ; shows a native plow-
ing the muddy taro patch and preparing it for the
planting. An ordinary plow is pulled by a lone
water buffalo tended by a native in knee breeches,
jacket, and sun hat. A title informs us the water
buffalo is the only animal that can be used for this
kind of work.

Helpful criticism aid
to better photography,
editing, and titling

By the Editors

silken gown, seated beneath a palm tree and eating
poi from a calabash, scooping the mushy substance
from the calabash and lifting it to her mouth, na-
tive fashion, with her fingers.

Photography : Highly commendable is the pho-
tography of every scene in this picture, both inte-
rior and exterior shots. It would be hard to find
more appealing scenery to shoot with a Koda-
chrome loaded camera than Hawaii’s, and this pic-
ture is replete with many colorful shots in the taro

• Continued on Page 300

• Reproduced above
ore enlargements from
frames of "Poi," 16
mm. Kodachrome pic-
ture on the cultivation,
production, and mar-
keting of vital food of
Hawaiian natives. Be-
low, at right, is repro-
duction from 8 mm.
picture, "Adventure in
Color," and at left, a
scene from "A Christ-
mas Eve Dream."

In the scenes that follow, the
planting of young taro sprouts
is shown ; then the cultivation
and eventual harvest of same;
the tubers or roots of the taro
plant, sacked and delivered to
the “factory” in town ; and then
the grinding of the washed and
steamed roots, and the packag-
ing and sale of same. The clos-
ing shot shows a beautiful Ha-
waiian girl in a flowing red

281

4ucathHal ir t^ccumniatif

S E C T I O N

HOME MOVIES FOR JUNE

• These scenes which were reproduced J|

from the school-mode movie, "The I

Bluebird," show the attention that was r

given to closeups and simple composi- f

tion which enhance the value of this j

picture both as an educational praject '

and as a valuable instructive film. The ;

entire production was in the hands of j

selected students and supervised by the
faculty. ^

terest program” at Will Rogers Junior t
High. In place of extra-curricular activ- :
ities conducted after school hours when
youngsters should be playing out of |
doors, our school devotes two thirty-five-
minute periods weekly to clubs. Every \
child, however timid or dull, must elect i
one interest to pursue; and no child, |
however enthusiastic or energetic, may
assume the leadership in more than one ■
group, for all the clubs meet simulta- ;
neously. The membership in all clubs is I
limited to thirty. I

There were several reasons for choos- i
ing “The Bluebird” in preference to !
other films being made at about the same j
time. It is a classic, worthy of study for |
its literary merit. It is fanciful and *
idealistic, offering a pleasant escape from !
the horrors in the news which constantly 1
din upon the ears of modern children and i
at the same time suggesting a simple but j
practical program for finding happiness. !
Finally, we chose “The Bluebird” because i
we knew in September that we had at
least six months before its Hollywood i
release. Items concerning the selection '
of the story, casting, shooting, editing, t
etc., appearing currently in the newspa- i
pers and magazines, helped to maintain i
interest in our own project. We had, '!
however, ample time to write our own
script, design our own costumes and sets
and generally plan our own production ;
without the inhibiting effect upon our |
imaginations of seeing how others would {
treat the same story. And in the end we j
had the fun of comparing the commer-
cial release with our own amateur, child-
ish efforts and the happy conviction that 1
considering the little time we had had
seventy minutes a week for about thirty
weeks) , the age we were (twelve to four- j;
teen years), and the limitations of our
company (about fifty for actors, pro- ;
ducers, photographers, editors, artists, i
seamstresses, stage crew, etc.) , we hadn’t
done so badly. ,

The 400-foot film (16 mm. b. and w.,
silent with titles) which records our ac-
tivities in preparing and presenting the |
puppet play and which at the same time I
provided the boys and girls of the Cin-
ema Club elementary experience in movie |
making begins with an introductory title ''
giving the credits and stating the pur-
pose of the project. Thereafter, the film I
records, step by step, the activities in

• Continued on Page 288

csCona i^eacli dcLoo I filn^

dtudentd POPPET pfolect

By Helen Rees Clifford

J. HE activities of a school movie
club are frequently directed either to-
ward motion picture appreciation or to-
ward motion picture production. Because
the philosophy of the junior high school
urges exploratory experiences in as va-
ried directions as possible, I have tried
to include both types of activities in the
program of the Cinema Club at the Will
Rogers Junior High School in Long
Beach, Calif. Furthermore, in relation
to the study of Hollywood-made films, I
have found it advisable to have my chil-
dren study one feature rather complete-

ly, discussing the work of the many de-
partments in a great studio, in prefer-
ence to skimming over many pictures
more superficially. In this way the chil-
dren come to realize that there is much
more to a movie than the story and the
stars.

We made the study of Maeterlinck’s
play, “The Bluebird,” a project for the
entire^school year in 1939-40, inviting
the puppetry class, under the direction
of Mrs. Vera Swope, to cooperate with
us. The puppetry class and the Cinema
Club are both offered on the “special in-

282

,j HOME MOVIES FOR JUNE

Recently through the agency of
two national magazines, the interesting-
story of how sound movies were made
in the Denver schools was told to the
nation. There has been time to observe
how folks reacted to this news. Some
remarked that present-day opportunities
far excelled the offering afforded during
their adolescent days. Others were not
so charitable in their point of view. The
cry of fads and frills by alarmists might
represent this extreme. There were those
individuals, too, who made a very search-
ing analysis of the completed films from
a technical and an educational point of
view. This is perfectly all right, but we
should also realize that one fundamental
purpose of making these films was to
motivate and unify the efforts of young-
sters in doing schoolwork. This is a pas-
sage in the picture that remained hid-
den, perhaps because it was without the
necessary glamour.

It was the writer’s experience and

C^ucathnal ir ^ilm

SECTION

• Denver Students filming modern method of packaging mayonnaise,

'J . ;

"Food the Modern Way/' filmed by Denver high school
students, example of movie that teaches as it's produced

By William S. Green, Jr.

East High School, Denver, Colo,

privilege to be a faculty member in a
Denver senior high school all during this
motion picture production venture. It
shall be the purpose of this brief article,
then, to convey to the reader the under-
lying philosophy of the study; the rea-
sons for doing it, and the final outcomes
and their interpretations. The point of
view is that of the teacher, and an effort
is made to be impartial and as objective
as possible.

When the Denver schools were invited
by the Motion Picture Project of the
American Council on Education to par-
ticipate in this venture, we were very
enthusiastic. The plan briefly was this :
If the students knew a subject thor-
oughly enough by first-hand observation
to record the story in a film, then they
would certainly know that subject and
know it well.

The American Council gave us some
assistance financially, as well as helping
out in a good many conferences of teach-
ers and students during the course of the
project. Three sound films were finally
completed at the end of the year’s work
by three of Denver’s senior high schools.

The titles of these films are : “It’s Fun
to Play,” “Food the Modern Way,” and
“How Our Health Is Protected.” The
sound was added after the films were
completed, after the fashion of adding
sound to some newsreels.

If we trace briefly the events as
they occurred for one school, perhaps the
reader will gain a clearer idea of the
story as a whole. “Food the Modern
Way” was the name given to the film
produced at East High School. A cer-
tain core class undertook this job in the
- fall and began their study of food.

The reason a core class was used was
that the same group of students would
be working on the project during the
course of the experiment and no inter-
ruptions at the beginning of a new se-
mester would be experienced. In addi-
tion to this continuity of group effort.

there were double periods. This gave
more administrative flexibility to the
management of the class. In this way it
was possible to have field trips, group
conferences, guest speakers and similar
aids that would have been much more
difficult to use in the traditional type of
class.

In the early part of the study, stu-
dents began a serious study of the mo-
tion picture as a means of telling a
story. Documentary films like “The
Plow” and “The River” were projected,
analyzed, and studied. Photography
problems and techniques of doing the
job were given serious consideration.
Committees were appointed, interest
mounted higher and higher, and real
work began. Thei’e was ample opportu-
nity for division of labor. Some young-
sters were good at doing one job, others

• Continued on Page 294

283

^^ucaticHal ir yUtn^

S E C T I O N

HOME MOVIES FOR JUNE ^

Uu, CLASSROOM 3iL.

REVIEW AND COMMENT ON LATE RELEASES

By Godfrey Elliott

INDIA (Eastman), 3 reels, silent. This is a
series of three one-reel films on India depict-
ing the life, customs, and industries of that
country. In many libraries this film may be
listed as three separate subjects under the
headings given below. For most practical
classroom purposes all three reels will be used
in connection with the study of India, since
each reel presents a picture of a different
geographical section. The film will be ex-
tremely useful in geography classes, from the
fourth grade through high school.

Hyberdad — The film first shows the mod-
ernized aspects of this Indian state. Several
sequences dwell upon agriculture; sugar cane,
rice, fodder crops, and others. Scenes are
shown of the homes and the small home in-
dustries which these people carry on. Con-
cluding sequences show extensive scenes of
the educational system and the influence that
western civilization has had upon it.

Mysore and Ceylon — Primitive methods of
obtaining water are shown in contrast with the
modern hydro-electric development of this sec-
tion. Among other things shown are: scenes of
gold mining, the silk industry, cultivation and
harvesting of tea, coconut, and cinnamon. Con-
cluding sceens are of the streets and harbor of
Colombo.

Punjab — This reel shows a section of India
that must rely heavily on irrigation, showing
both primitive and modern methods. One se-
quence deals extensively with domestic life.
Concluding sequences show life in Delhi.

YOUTH TAKES TO WINGS (Bray), 4 reels,
sound. Of interest generally to youth, but of
especial interest to industrial classes and high
school classes in physics and general science
is the four-reel sound film “Youth Takes to
Wings,” produced by Bray and endorsed by
most of the aeronautical societies and their
affiliated youth clubs.

“Youth Takes to Wings” is based on the
Traveling Air Show of the Franklin Institute,
and attempts to show in terms understand-
able to the layman the principles of aerodyna-
mics. By opening with simple illustrations of
how birds sustain and control their flight, the
film moves through a series of more compre-
hensive illustrations to show how aircraft sus-
tain and control their flight.

Models and full size ships are used to demon-
strate the flight of balloons, dirigibles, blimps,
autogyro, the helicopter, and other aircraft.
Included are scenes of constructing and flying
model airplanes. Laboratory demonstrations
illustrate the fundamental principle of air flow
and streamlining.

At the junior-senior high levels it will prove
useful in most science classes, and will pro-
vide an interesting and informative high
school assembly program. It is doubtful if
this film will have any value below the high
school level.

WHEELS ACROSS INDIA (Dodge), 2 reels,
sound. Free. “Wheels Across India” is spon-
sored by the Dodge division of the Chrysler
corporation; photographed by tbe Dennis-
Roosevelt expedition; free from objectionable
advertising.

The title of this film is slightly misleading
as to its contents, since it presents a picture
of only one portion of India — Burma. Beau-
tiful photography carries the audience through
a colorful tour of this unusual country: the
temples of Rangoon and the dead city of
Paduang; the queer tribe of natives who
stretch their necks to giraffe-like proportions;
primitive water power machinery; river trans-
portation; the elephants of Burma; the snake
worshippers.

“Wheels Across India” is not a complete
lesson on life in Burma, but rather an in-
teresting and informative travelogue about un-
usual people in an unusual corner of the
world. This, however, should not detract from
the film’s usefulness at middle grade and
junior and senior high school levels. It will
be of value chiefly in geography classes.

CITY WATER SUPPLY (Erpi), 1 reel, sound.

The extensive use of good animated drawings
is combined in this film with photography to
show how the city obtains its supply of water.
It attempts to answer such questions as:
“How is^ water brought to the city?” “How
does "the city store water for emergencies?”
“How is water purified to make it fit for
use?” etc.

The film does not overstress the water sys-
tem of any one typical city. Through the use
of a great many different examples of water

sources, storage facilities, distribution sys-
tems, and methods of purification, it enables
a teacher to point out the fact that the city’s
water system is built upon the resources and
needs of the local community. The film em-
phasizes the necessity for proper protection of
community health.

“City Water Supply” is adaptable to use
from the middle grades through the high school
years. Some measure of value may be found
even for lower grades. The film will be of
immense value in upper grade and junior-
senior high school science classes; social stu-
dies, classes, both elementary and high school,
will find it useful as a supplement to any study
of the community.

WEATHER BY CARRIER (Castle), 2 reels,
sound. Free. Reputed to be the first film on
the subject of air conditioning, “Weather By
Carrier” tells its story with a minimum of
advertising.

The film opens with scenes of the Carrier
Corporation exhibit at the New York Worlds
Fair, showing many of the interesting demon-
strations that were seen there. From there it
goes on to make a very clear exposition of the
important role of air conditioning in modern
life: its function in theatres and other places
of assembly; its applications to the average
home in winter and in summer; how it affords
relief for hay-fever sufferers and victims of
similar ailments.

“Weather By Carrier” will be highly useful
at the junior-senior high school levels. Its
well defined picture of air conditioning in mod-
ern life makes it useful in a great many social
studies classes; science classes will gain much
from its simplified explanation of what air con-
ditioning is and how it operates mechanically.

erSea

o^ocumentai^i

“Under the Pacific” is the tentative
title of a new feature length documen-
tary film on which work has just been
started by Producer Otis Barton, ac-
cording to word from the American

284

ii Film Center, 45 Rockefeller Plaza, New
York.

Mr. Barton is a pioneer and authority
on undersea exploration and has been
spending the past several weeks in the
' Hawaiian Islands with specially designed
under-water equipment. Harold Mc-
i Cracken, his New York representative,
also reports that the expedition has ob-
Ij tained scenes of a fight between an octo-
pus and a shark, another between a
' striped marlin and a shark, and scenes
i of the Giant Ray and other unusual den-
izens of the depths of the Pacific Ocean.

Mr. Barton will be remembered as the
man who designed and supervised the
I construction of the “bathysphere” in
I which he accompanied Dr. William Beebe
on his record deep-sea dive in the Atlan-
i tic Ocean near Bermuda. Mr. Barton has
since designed a successor to the bathy-
1 sphere which will permit greater free-
' dom of deep-sea movement, and which
I he intends to use extensively in connec-
tion with the production of the new film.

I The itinerary of the expedition will
include the Great Barrier Reef off the
coast of Australia and the jungle coast
of the Malay Peninsula in southeastern
Asia and will require more than two
years’ time to complete it.

The film is being made for regular
theatrical distribution. Plans for releas-
ing 16 mm. prints have not yet been an-
nounced.

♦ ♦ ♦

Boy Scouts’ magazine. Boys Life, has
started another picture dealing with
boys and boy activities. “Rural Scout-
ing” has just been completed and is now
available from the Boy Scout office at
2 Park Avenue, New York, N. Y., for a
small rental charge.

“Rural Scouting” is the story of how
scouting has been adapted to include
boys in rural communities as well as
those in cities and towns. The film was
photographed by Sherman Price and
produced by Spot Films, 339 East 48th
Street, New York. The film is 16 mm.
sound on film and is made in color, run-
ning 600 feet.

With the publication of the 8th edi-
tion of their 16 mm. silent film catalog,
the Eastman Kodak Company is an-
nouncing a new policy of film rentals.
Formerly offered for sale only ($24 a
reel), a number of these instructional
reels are now obtainable on a rental
basis. Included in the new rentals are
subjects on geography, health, science,
agriculture, nature lore, safety, and in-
dustries. Complete details and titles of
the films are obtainable from the Koda-
scope Libraries division of the Eastman
Kodak Co., 356 Madison Avenue, New
York, N. Y.

REVIEWS of 6cLoUal fiL,

BEARS AND PENGUINS ★★

200 feet 16 mm. By M. K. W.

Essentially a film for kindergarten and
primary grades, “Bears and Penguins”
is to be recommended for its clear, bril-
liant photography, good editing and ti-
tling. It is a picture which easily may be
understood by primary pupils.

Subject matter consists of scenes made
from well-selected vantage points within
a zoo, and this filmer has captured the
natural movements, even some of the
antics of an interesting group of bears.
Commendable, too, was the manner in
which shots were made at a time of day
when light favored the photographer. So
often pictures like this are to be seen,
apparently filmed without much advance
study of light conditions with the result
subjects are poorly lighted, obscuring
much of the detail so important for
school study.

Commendable, too, was the absence of
panning. The filmer frequently changed
camera position, altering angles of view
which further enhances study of the
bears.

The last half of the picture is given to
a study of penguins, also filmed in the
same zoo, and this comprises some of
the best scenes of penguins available for
visual aid study.

The film has received much favorable
comment from educators, and several
duplicate prints have been made for dis-
tribution to other schools.

"THESE WE DEFEND" ★

200 feet 16 mm. By Paul Gross

This is a semi-allegorical presentation
and interpretation of the Declaration of
Independence. In the early scenes, stu-
dents of the school who took part in the
production are seen costumed in Colonial
dress of the period when the famed doc-
ument was signed. The picture then pro-
ceeds to the present day, then to an alle-
gorical dance of freedom, and back again
to scenes depicting the present.

The mixing of the past and present;
the shots of the children interpreting
the various p^eriods in and out of the
school, and then going to miscellaneous
shots of people and the city, lacks con-
viction.

Undoubtedly this filmer knew what he
wished to convey, but he chose a difficult
subject, and what’s more, difficult actors
to enact the portrayals.

On the technical side, the photogra-
phy, editing, and titling is commendable.
Only the story lacks continuity ; fails to
offer a convincing interpretation.

♦

♦ ♦

ouied

n interesting view of children’s likes
and dislikes in movie fare is revealed in
a survey report which recently appeared
in the Los Angeles Examiner. Under the
caption, “Movies Are Lure to Children”
it goes on to state :

Out of 800 school children, checked in
a recent Parent-Teacher survey, only 20
never go to the movies. Forty per cent
go once a week. Sixty-two per cent
choose their own pictures.

Their preferences are comedy, first;
mystery, second ; adventure, third ; west-
ern, fourth ; and, away down the list
with only a few votes each, gangster
films and social dramas.

These results were announced recently
by Mrs. Richard Merriam, motion pic-
ture chairman for the Tenth District,
California Congress of Parents and
Teachers.

285

PAGE 286

HOME MOVIES FOR JUNE

Printer Conversion

Above drawings show the simple ma-
terials I employed to convert my 16 mm.
Keystone projector into a printer and
also the completed conversion. First I
made a cardboard mask for my dark
room safe-light with a hole large enough
to fit the cardboard core from a roll of
toilet tissue. This core just fits over the
projection lens.

An old discarded table lamp, which is
adjustable as shown, was employed as
the printing light source and joined to
the safelight to complete the assembly.

By using a 15-watt bulb in the safe-
light, I run negative and positive through
the projector at the same time at normal
projection speed. By developing the posi-
tive prints myself, I am able to make ex-
cellent prints for about $1.00 per hun-
dred feet.

— Victor Duncan.

Low Cost Filters

Frequently, the amateur interested in
using filters, is encouraged to experi-
ment with home-made filters made of
colored cellophane. Without established
filter factors, the use of cellophane pre-
sents difficulties ; requires exposing much
film to arrive at right exposure.

For experimental purposes, a better
method is to purchase one of East-
man’s “Filter Test Charts” which costs
less than the price of one regular filter
and includes 12 color-tested gelatine

ImportoBit: When submitting ideas, be sure
to mention whether equipment you use is
8mm Or 16mm, enobling us to promptly for-
ward awards adaptable to your use.

THE EHERIMEnH

filters, each measuring %" x 1" in size.
The range consists of K-1, K-2, X-1, G,
A, B, C-5, and F. Also, there are four
test or viewing filters.

All that is necessary for making tests,
is to detach the gelatines carefully from
the chart and mount them between thin
glass or between regular 2" x 2" slide
binders. Filters should be handled with
care and not touched with fingers, and
kept away from bright sun when not in
use.

After a few experiments with this
range of filters, the amateur will be able
to make a decision as to which filters he
desires to use most and then obtain the
more durable optical glass filters from a
dealer.

— E. A. King.

Rangefinder Clip

In making stills or movies, there are
usually three fundamental operations
necessary in order to set camera prop-
erly for satisfactory pictures : setting
the lens diaphragm ; setting shutter
speed; and focusing lens for distance.
The exposure meter gives two of these
results; and a rangefinder will produce
the other — the distance factor.

Finding these two accessories insepa-
rable in my work, I proceeded to com-

and quicker handling. From light sheet
metal, I fashioned two clips which fit
snugly over the ends of my rangefinder
and which I fastened by means of a
patented plastic cement to the case of
my exposure meter, joining meter and
rangefinder securely together in a con-
venient usable manner.

— Dudley Porter.

Pilot Light Switch

Owners of 8 mm. Keystone projectors
can easily make a few changes in the
wiring that will cause pilot light to
switch off automatically when the pro-
jector motor is started. No new switches
need belhstalled and the change in wir-
ing may be made in a few minutes. Only
material needed is an eight or ten inch
length of insulated wire and a screw
driver.

First remove the projector base, ex-
posing the wiring which appears similar
to diagram sketched here. Remove from
the pilot light receptacle the wire con-
nection that runs to the rheostat. Splice
this wire directly to the 110 volt lead
wire forming a direct connection to
rheostat, as indicated by the dotted line
“A”, and tape exposed wire carefully.

With the extra length of wire already
referred to, connect the free pilot light
terminal with the switch as indicated by
dotted line “B”. Connecting point on
switch should be where the heaviest wire
is joined. This leads to projection lamp.
Tighten all connections and the job is
finished.

The pilot light will burn as soon as
projector cord is plugged into wall socket
and will remain burning during times
projector is idle. When projector is
started, pilot light is automatically ex-
tinguished.

— /. M. Hirschinger.

Viewfinder Mask

Not having obtained the best of re-
sults using the supplementary finder on
side of my Keystone 8 mm. camera in
conjunction with my new II/2" telephoto
lens, I designed a small mask to fit in
front of the optical viewfinder of my
camera as shown in sketch.

This mask is made of opaque celluloid
and a hole drilled at the bottom to per-
mit attaching it to camera by means of
one of the screws securing the name
plate to front of camera case. The screw
at this point is secured within the cam-
era case by a small nut; so it became
necessary to slit the celluloid mask and
slip it over the loosened screw, then

HOME MOVIES FOR JUNE

PAGE 287

Gin WORKSHOP

tightening screw just enough to allow
mask to be moved freely.

After mask is thus fitted to camera,
the area corresponding to that taken in
by the telephoto lens, is marked on the
mask and cut out with a razor blade.
When regular lens is used, mask may be
moved away from viewfinder opening as
shown.

— A. IF. A pel.

Removes Film Spools

Eight mm. camera owners who have
experienced trouble removing loaded
film spools from their camera will find
interest in this simple gadget which I
built and use as a “lifter.” From a short
length of stout wire, about 14 gauge, I
fashioned the hook or “lifter” pictured
in the accompanying sketch.

When turning my spools of 8 mm. film
or when removing the completely ex-
posed spool, I insert the hook in the
slotted opening in center of spool, lift-
ing it from spindle, thus enabling me to
use other hand to grasp spool and keep
film from unwinding and possibly be-

coming fogged.

— Carl J. England.

Background Trick

In attempting to film a very small
desert bloom in color with my cine cam-
era, I was temporarily stumped by the
unattractive background. I wanted a big,
ultra-closeup, yet I didn’t want the grey-
brown sand and dried weeds which sur-
rounded it.

I happened to have a magnifying shav-
ing mirror in my car and placed it be-

neath the flower in such a manner that
it reflected the sky. Thus, I obtained a
magnificent closeup of the flower with a
blue background.

Others who may wish to try this will
find any flat surface mirror will do, as
long as it reflects nothing but the sky.

— George Diack.

Colored Titles

A money-saving method for making
colored titles for Kodachrome films in-
volves use of inexpensive Easter Egg
dyes for tinting titles after processing
or development. The dyes v/ork equally
well on either black and white reversal
or positive film, both of which are fre-
quently used for making titles for color
films.

Select the desired color dye — there are
usually six different tints or colors to a
package — and mix it according to direc-
tions furnished by manufacturer. Add a
few drops of vinegar to the solution be-
fore using. Immerse film in solution
from four to seven minutes, depending
upon density of color desired. Dry film,
absorbing excess dye with chamois or
blotter.

It is not necessary to soak film fii'st in
water nor to agitate film while in the
solution to obtain good results.

— Marshall V irello.

Improved Film Viewer

After experimenting further with my
“Beer Can Viewer” which you described
in the Cine Workshop department of a
recent issue of Home Movies, I found it
troublesome to view the film by looking
straight down into the viewer lens, at
the same time craning one’s neck in
order to read the image from the side.

The accompanying sketch shows the
improvements added to this viewer
which permit sitting leisurely at the
editing board, turning the rewinds and
viewing the enlarged image of the film
in upright position as reflected on the
miniature ground glass screen before
you.

Necessary materials are two small mir-

trick A and
short cuts contributed

hi^ C^inehu

rors, such as vanity mirrors obtainable
from discarded handbags ; two pieces of
finished wood 1” square and about 12”
in length (depending upon the viewer to
which gadget is to be added) ; 1 block of
wood (white pine or plywood) about i/^”
in thickness and 3” square ; and a panel
of ground glass or frosted celluloid about
3” square.

The two wooden pieces “A” and “B”
are joined together to form an inverted
“L” as shown. A diagonal notch is cut
in member “B” just above the beer can
viewer and into this is fitted the first
mirror “C”, and secured in place with a
bit of plastic cement. The second mirror
“D” is cemented into place, as shown, at
the established point, and the 3” square
block “E” is attached at end of member
“B”, also aiding in supporting the sec-
ond mirror. The panel of ground glass
is secured to front edge of block with
cement or binding tape.

With light turned on in viewer, film
image is projected to mirror “C”, thence
to mirror “D” which twists it to up-
right position and projects it against the
ground glass “F”.

— Russell W . Bobzin.

Tripod and Head

A reasonably sturdy tripod and head
for eight millimeter cameras may easily

• Continued on Page 306

PAGE 288

HOME MOVSES FOR JUNE

CHOOSEIW^

the exp<

scjys Ivan Dmitri:

"I find my G-E Meter
indispensable for
COLOR shots."

says John Geiseh

"I use my G-E exposure
meter on all MARCH
OF TIME shots."

says

Daniel B. Clark:

"Every cameraman at

20th CENTURY-FOX
uses a G-E exposure
meter."

You’ll save on film and get
shots to be proud of!

— because the new G-E exposure
meter gives you the right exposure
every lime, gets you thiilling color
shots with perfect flesh-tones, spar-
kling movies and stills. You also
enjoy: 1. Rapid one-hand operation,
with the new locking feattire which
permits calculator to be locked in
position after reading is taken.
Adjustments will not change when
ihe meter is put into case or pocket.
2. Extreme sensitivity, by means of
the incident-light method. The G-f]
meter was designed especially to
make use of this reliable methorl of
light measurement. 3. Amazing ac-
curacy, with positive protection from
loss of shadow detail or color.

You get 3 meters in one which gives
you correct exposure, simplified
printing and enlarging, and a positive
means of maintaining the delicate
light balance needed for color shots.
General Electric, Schenectady, N. Y.

$21

at good photo-
graphic deal-
ers everywhere

Sck ooi ^iim6 puppet project . . .

• Continued from Page 282

which various pupils en-
gaged prior to the presen-
tation of the play. A review
of the film provides a re-
view of the project.

Two girls visit the library
and select a book. Closeup
of the title page gives the
name and author. The girls
take the book to the park,
read aloud, and begin to
dramatize for each other the
actions of the dog and cat.
Filled with enthusiasm,
they begin to write the
script for a puppet play.
(Adapting a play of the
length of “The Bluebird” to
a form suitable for marion-
ettes, with the necessary
eliminations, revisions, etc.,
was in itself an ambitious
undertaking in junior high
school English.)

As it takes considerable
time to learn to make pup-
pets, the Cinema Club un-
dertook to prepare the
script, the costume designs,
and the stage sets while
Mrs. Swope’s students made
the figures. We read about
the organization of Holly-

wood studios and tried to
emulate the activities of the
various departments.

The next sequence in the
film shows how the puppets
were made. Many closeups,
showing the mixing of saw-
dust and paste, the model-
ing of the heads, the joint-
ing of the bodies, the use of
control board and strings,
etc., make this section of
the film valuable to the pup-
petry teacher for initiating
quickly into the art of mak-
ing marionettes later classes
of novices.

Other sequences show art
work in the designing of
costumes and sets. We
thought of the puppet stage
as a miniature model such
as the studios use in plan-
ning productions. The art
teacher. Miss Edith Tyde-
man, was most generous of
her time in supervising
these activities. Designing
the sets introduced prob-
lems in perspective, and it
was really thrilling to watch
the growth in technical skill

which some of the children
made. The setting for “The
Hall of the Future” provid-
ed a challenge to young
imaginations. Perhaps as
their teacher, I was unduly
biased; but I felt that the
conception of a hall filled
with dials, cogs, control
boards, and some inde-
scribable apparatus provid-
ed a more fitting workshop
in which the unborn chil-
dren might work out the
scientific and philosophic
ideas by which later to bene-
fit humanity than the set-
ting used in the commercial
picture. In it a classical
peristyle was used in which
children in Greek robes ca-
vorted about. At any rate,
I am sure it was best that
our designer, Billy, finished
his set for “The Hall of the
Future” before he saw how
20th Century-Fox made
theirs.

Next, the backdrops for
the puppet stage were paint-
ed on wrapping paper. The
children were particularly
proud of “The Woodcutter’s

Emulsion Ratings for 8mm and lEmm Films

CORRECTED JUNE 1, 1941

SCHEINER

Weston

G-E

ScBEINER

Weston

G-E

£3

AGFA

GENERA

100

125

100

16mm Positive

KIN 0 LUX

No. 1

No. 2

No. 3

1DUP0NT

Regular Pan (Rev.) Type 321

CONSUMERS

100

Superior-2 (Neg.-Pos. or Rev.l Type 301

Panchro

Type 314 Pan (Neg.-Pos. or Reversal) . .

Colorcrome

Positive Type 600

1/6

yound Recording Positive Typ® 601 ....

HOLLYWOOD

S. S. Pan

EASTMAN

Pan

100

125

100

16mm Super X Pan

16mm Safety

UNIVEX

16mm Positive

8mm Super X Pan

GRAPHICHROME

14*

18*

12*

100

Superpanex No. 24

GEVAERT

Colortone

Super Reversal

Panchro

Ortho

*With filter.

tRatings for last four Dupont films are for straight development. Ratings for reversal depend upon processing formulas and technique employed.

HOME MOVIES FOR JUNE

Cottage” and “The Hall of
Luxury.” a most elaborate
rococo room with columns
and pilasters, broken en-
tablatures and curly-cues.

Stage furnishings were
kept as simple as possible,
for the puppets had a pro-
pensity for knocking them
over; but there had to be
some, notably the twin beds
for the woodcutter’s cottage
and numerous tombstones
for the graveyard scene.

Now it was time to erect
a puppet stage on wooden
horses, paint it, and supply
curtains. It had been made
previously in the woodshop.
In filming this sequence, we
made some serious mistakes
in timing and lighting.
That, however, is the way
amateurs learn, and we
won’t make the same mis-
takes again.

At first the children
thought that they wanted a
complete film record of the
puppet play. A little simple
arithmetic was introduced
at this point, and they real-
ized that they would con-
sume too much footage.
Therefore, they chose a
couple of scenes which they
liked best, and we shot them
to suggest the form of the
finished play. With these
our film ends.

In evaluating a project a
teacher should ask herself :
Did the children improve in
their use of the fundamen-
tal tools of learning? Did
the children discover or de-
velop special aptitudes or
talents? Did the children
improve in social relation-
ships?

I felt that in proportion
to the time expended this
unit of work had amply ful-
filled its educative purpose.
Almost every child read in
its entirety the classic lit-
erature on which the proj-
ect was based. Preparing
the script and speaking the
lines for the marionettes
provided experiences in
written and oral English.

Manual dexterity was in-
creased by modeling heads,
making and manipulating
marionettes, sewing cos-
tumes, and making the stage
and stage furniture. Tech-
nique in art improved for
the children who designed
costumes, made lay-outs for
sets, and painted backdrops.

Entirely new mechanical
experiences for many were
provided by opportunities
to help with motion picture

PAGE 289

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• • O

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feature for perfect movie-making has been included. In the years to
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which your family — ^your friends and you are the stars.

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At All Good Camera Stores

PAGE 290

HOME MOVIES FOR JUNE

For

Indoor
Still and
Movie

Photography

•

Complete

with

500-watt

Bulb

FORMERLY $30.75

now $9‘95

Here’s your opportunity to buy a 130.75
Kirbylite with a 500- Watt bulb at the
amazingly low price of |9.95.

With a single KIRBYLITE and a re-
flector, which may be improvised out
of white paper or cloth to reduce shad-
ows, small groups can be photographed
successfully. It can be connected to
any electric light socket. No special
installation of wiring or changing of
fuses is necessary.

camera and lights. Some of
the children learned to in-
terpret the exposure meter,
to measure distances to de-
termine focus, to “find” the
best composition for shots,
etc. These opportunities
were the object of covetous
rivalry, but the teacher de-
vised ways of dividing re-
sponsibilities and of assign-
ing assistants for checking
duties. It might seem that
a rather large and fluctuat-
ing production crew of kid-
dies might produce the same
chaos as “too many cooks in
the kitchen.” Actually, how-
ever, it is possible for the
director to organize the
work so that many children
have varied responsibilities
which they take so seriously
that they do not get “under
foot.”

There were two kinds of
lighting problems, for prac-
tically all the shots were
made indoors. The puppet
stage had to be wired and
lighted for the puppet play
with changing effects for
brilliant interiors or gloom
for the graveyard. Then
there were the photographic
problems of lighting school-
room activities.

It is apparent that not all
of the children had all of
the experiences which have
been mentioned, but each

entered into as many as he
wished. New interests were
discovered. Some of the
Cinema Club were so in-
trigued by making puppets
that they spent more time
in Mrs. Swope’s room than
in mine, and many of her
puppeteers discovered un-
suspected interests in cine-
matography.

The school production of
a motion picture has per-
haps its greatest value, in
my opinion at least, in its
requirement of good team-
work. Close runners-up in
importance, however, are
planning and precision. The
expense of the undertaking
teaches the necessity for de-
tailed planning, and the fin-
ished product shows preci-
sion or shows up the lack
of it.

A critic might suggest that
the puppet project of “The
Bluebird” might have been
carried out successfully
without reference to motion
pictures. While this is true,

I believe that our project
had fuller meaning to the
children in the way we de-
veloped it. In our discus-
sions interesting compari-
sons were drawn concern-
ing the exigencies of the
legitimate stage, for which
the drama was originally
conceived, of the marion-

ette theater, to which our i
children were adapting it, ^
and of the motion picture J
screen, upon which it was ,
to be viewed by a million ^
Americans. i

Contemporary problems of {
20th Century-Fox, men- |
tioned from time to time in '
press or radio and brought i
to school for bulletin board |
and scrapbooks, helped to j
keep alive interest in activi- j
ties which stretched over |
many weeks. Participation |
in our own movies provided \
motivation and reward for |
the best work, for the close- i
ups showing special activi- |
ties were made of the stu- j
dents who had exhibited the I
greatest talent, speed, or ac- ’
curacy. Operation of the t
camera and lights was the k
reward for students who |
had made helpful contribu- j
tions in other lines. Com- |
parison of our finished prod- |
uct with the completed fea- !
ture film was interesting i
and educational. !

Our own finished 16 mm. j
film is a documentary which |
is used in teaching puppetry j
to other students. It has j
been used a number of times j
at educational meetings. •
Most recently, it was shown i
to parents who visited i:
“Open House” during Na- }
tional Public Schools Week. '

The ventilation has been so perfected
that the KIRBYLITE remains easy to
handle even after prolonged use. An
exclusive feature of the KIRBYLITE
is the lens of prismatic construction.
Only a limited number are available
at this special sale price. Act now.

• Continued from Page 279

e camera

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studio for advice and films
and equipment. By shooting
movies of the region him-
self, he was better prepared
to advise his customers.

In due time, the talk be-
came more persistent
among inhabitants of
Ketchikan that nearing
reality was the long dis-
cussed International High-
way that was to link Alaska
with the United States and
extend beyond to the far tip
of South America. Already
surveyors were in the field
charting the road which
was to penetrate some of
the most virgin scenic gran-
deur in Alaska. Road build-
ing equipment was arriving
with each freighter. And
Milotte’s friends across the
border wrote frequently in-
quiring about the project.
All this gave Milotte an
idea — to make movies of
the interesting and little
known country which the

highway would traverse,
combine it with many hun-
dreds of feet of color mov-
ies which already he had
made of Alaska, and put on
a show for his friends on
the next trip across the bor-
der.

So enthusiastic did their
friends respond to these
movies, Milotte decided
then and there to commer-
cialize on his film — to take
it on a lecture tour. The
spot selected for the initial
lecture and screening — ^the
“tryout” — was Sedro Wool-
ley, Wash., a town of 2000
inhabitants. An advertising
campaign was arranged
with a local newspaper to
run in advance of the sched-
uled showing, and Milotte
and his wife returned the
evening of the advertised
date to lecture and screen
the picture. The “tryout”
was a success. Both lecture
and film was well received

and the Milottes were thus '
launched on another career,
lecturing, one that is fast !
regaining popularity,
thanks to Kodachrome mov- ;
ies. I

About four and a half i
months were required for ,
Milotte to cut and edit his -
picture, make titles and
shoot the many interesting j
animated maps. There are |
many laughs throughout |
the picture, for Milotte rec- t
ognized long ago the value i
of comedy situations and
running gags to sustain in-
terest in lecture pictures.

Milotte emphasized : “I ' :
made it a particular point i;
to put a laugh in the very i*
beginning of the picture. ;
This sets the audience in
good mood at the start and '
sharpens their interest for i
what is to follow. '

“For one running gag I ■

HOME MOVIES FOR JUNE

PAGE 291

used unposed shots which I
obtained quite accidentally
of a Parka, a species of
small ground squirrel, and
of a grizzly bear. Those of
the Parka show him de-
vouring the remnants of a
discarded soda cracker,
looking up frequently with
cautious glances for possi-
ble intruders. The shots of
the bear are considered rare
and show him charging di-
rectly toward the camera
and again away from the
camera at full speed.

“These were arranged to
show the bear contemplat-
ing the small Parka eating
the cracker, then charging
the Parka who turned to
face the bear all the while
scolding him bravely; then
the bear halting the charge
and retreating. Here a title
is cut in where we remark
that we were glad the bear
ran off in the other direc-
tion; a return to a closeup
of the little Parka as he
faces the camera, and then
another title — as spoken by
the Parka : ‘Pm glad he ran
away, too.’ ”

There are comparatively
few titles. When screening
the picture during lectures,
Milotte speaks running
commentary using a micro-
phone near the projector
and an RCA amplifying
system. A single turntable
is used to play background
music from selected record-
ings— mostly harp, cello,
an flute selections. Mrs. Mi-
lotte handles this depart-
ment of the lecture, fading
the music in and out be-
tween her husband’s com-
mentary.

Obviously, Milotte is well
qualified to advise the ama-
teur interested in making 8
mm. or 16 mm. movies in
Alaska. Exposure is the
principle problem due to
frequent overcast skies and
alrnost incessant rainfall
which averages 150 inches
per year. The tricky light
makes dependence upon ex-
posure meter almost imper-
ative.

No amateur’s movies are
complete without shots of
the totem poles which are
found in abundance in
south-eastern Alaska and
may be filmed without any
restrictions whatever. This
area also is the region of
the world’s largest salmon
fishing industry. Here Mi-
lotte secured the many in-
teresting Kodachrome shots

^ THE QUALITY
OF KIN-O-LUX

MOVIE FILM WITH ANY
OTHER AT ANY^

WEIGH

THE FACTS

Don't be convinced by mere words — actually
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attained with this reliable movie film costs less
than others of comparable quality you will know
why you can almost double your motion picture pleasure by taking
more pictures — without increasing your budget. Whether you look
first for quality then for price or vice versa — whether your need is
for outdoor or indoor film — you're bound to choose Kin-O-Lux on
merit alone. Be sure to ask for Kin-O-Lux by name for your very
next roll. Reliable dealers everywhere carry Kin-O-Lux in stock. For
the name of the dealer nearest you write to Dept. 1-H.

OUTDOOR
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(Weston 8, Scheiner 18°)
100 It. $3.00.

OUTDOOR
KIN-O-LUX NO. 2
(Weston 12, Scheiner 20°)
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OUTDOOR AND INDOOR
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(Weston 50 Tungsten 40,
Scheiner 26° Tungsten 24°),
100 It. $6.00.

INDOOR ONLY
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■ - - p

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• 105 WEST 40th STREET • NEW YORK CITY

ACCEPTED

as one of the four rec-
ognized and recom-
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films — Kin-O-Lux is
priced lower than the
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More and more ex-
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to Kin-O-Lux for

RELIABILITY
FINER
RESULTS
ECONOMY

H£G. V. S. PAT. OFF.

PAGE 292

HOME MOVIES FOR JUNE

GET G-E PHOTOFLOODS
and get busy!

• What if it does rain? You’ll find
scores of movie opportunities right
at home. And it’s easy to turn them
into priceless pictures, by keeping
G-E MAZDAPhotoflood lamps handy.
They’re the same high-efficiency type
lamps that Hollywood uses, made
to fit your requirements.

Whatever type film you’re using,
you’ll find G-E Photofloods give you
plenty of light for clear, crisp pic-
tures—the right kind of light for
good color rendition. Two popular
sizes fit most needs: No. 1, 15c;
No. 2, 30c. And for special effects
or convenience away from home, try
G-E Photoflood No. R-2, 85c.

GENERAL®ELECTRIC

MAZDA PHOTO LAMPS

of bears fishing for salmon,
scenes which contradict the
theory that bears catch
salmon by stunning them
first with a blow from their
huge paws. Milotte’s pic-
tures show the bears catch-
ing fish by watching the
water intently, then thrust-
ing their snouts under
water, catching the fish
firmly between their jaws.

The more daring filmers
venturing into Alaska will
want pictures of native
j game, and for them Milotte
offers the following advice :
in stalking the wild sheep
for camera shots, it is best
to let your presence be
known. They are inquisitive
creatures and will come to
you, if not disturbed, en-
abling you to secure fine
pictures at fairly close
I range.

I If you want pictures of
I grizzly bears, be sure to
conceal yourself in safety
as these animals are dan-
gerous. For Caribou, the
secret is to go ahead of
I them, keeping the wind
blowing away from the ani-
mals so it will not carry
your scent to them. The
Caribou have an unusual
keen sense of smell. As for
wolves, if you succeed in
filming these wary fellows
you are lucky. They are to
be seen very little in the
day time. Milotte possesses
what is perhaps the most
unusual movies secured of
Alaskan wolves, taken on
Kodachrome film at 11 :30
at night! Of course at that
j time of the evening in

i Alaska in the summertime

i it is still quite light, but
I not sufficient for making
movies at regular daytime
exposures. To secure these
shots, Milotte opened up his
lens and made the pictures
at J/2 second exposure, using
the hand crank to turn the
camera. These shots are
easily one of the big high-
lights of his lecture picture.

Milotte, of course, is but
one of the many advanced
cinefilmers whose excep-
tional work has brought na-
I tion recognition. There is
^ a new wave of interest in
lectures — illustrated lec-
I tures — sweeping the coun-
j try, and many keen movie
I makers are cashing in on
' the opportunity. But the
subject amd especially the
pictures have to be good,
topically interesting and
perfect cinematographical-
I ly. This does not mean one

must choose an hitherto un-
screened subject. More im-
portant, according to Alfred
Milotte, is that the subject
be filmed in an interesting

mouied in a

or unusual manner with
more than ordinary atten- 'j
tion given to camera angles, i|
sharp focus, and accurate |j
exposure.

uance

<1,

® Continued from Page 269

Throughout the trip there
are flashback shots of the
boy thinking about the dog
and the dog is brought into
a corner of the scene
through double exposure.
So not to overwork this
idea, occasionally there are
shots intercut that indicate
the boy is thinking of his
dog: the boy looking wist-
fully at a picture of a dog in
a magazine ; watching other
dogs along the way; writ-
ing a letter home to his dog ;
and still another — mailing
a bone to him !

Finally in the scene
showing them arrived at
their destination, the father
goes to the trunk compart-
ment to get out their lug-
gage. Upon opening the
trunk, he steps back with a
look of surprise, and a close-
up shows the dog curled up
among the luggage, wag-
ging his tail in a sort of
half-hearted way as though
not quite sure how the boss
of the house is taking the
surprise !

Now while this last epi-
sode could be worked out
after returning home, it
looks far more natural, in-
deed has far greater punch
if there’s a view of the
Grand Canyon, for in-
stance, clearly visible in the
background beyond the car.

One thing to remember
in shooting holiday or vaca-
tion movies is to “personal-
ize” as many scenes as pos-
sible. The city dweller who
rarely gets into the moun-
tains is invariably over-
whelmed by the beauty of
waterfalls, tall pines, and
lofty mountain backdrops,
and the urge generally is to
whip the camera out of the
case and into action with-
out much thought to com-
position. And this is how
much of the pot-shot mov-
ies have their beginning.

Far more acceptable mov-
ies— the kind your friends
will ask to see again and
again; the prize winning-
kind — are those made with
your trigger-finger held in
check. Before you shoot
wildly at a beautiful pano-
rama, give a thought to pic-

torial composition ; then “
place one or more of the j
members of your party in ")
the scene — not facing the (
camera — but moving natur- jj
ally, gazing at the scene or 5
inspecting some object i
within it. I

One pleasant vacation |
picture recently screened
had nothing more to tie the
scenes together than a sim-
ple idea that occurred to the
filmer on the spot. This
filmer and his wife had gone
into the mountains to spend
two weeks fishing and loaf-
ing. In one of the early |
scenes, the wife is shown |
asking the husband if he |
will go on a hike with her. ^
He declines, choosing to loll ^
in a nearby hammock, but i|
urges her to go for a walk |j
with the dog. Thereafter, t
in almost every scene that il
follows, the wife is shown |
hiking along with the dog, jj
tossing pebbles into a
stream, inspecting wild !
flowers, etc. All this added 1
much more to the picture j:
than if the scenes were com- ■
posed of nothing but seen- j;
ery. l!

Thus the shots this filmer |'
might otherwise have made i]
of the scenes and points of ji
interest encountered along ||
the way, were made doubly jj
interesting by the contin- :i
uity of his wife and dog li
moving naturally through |j
every scene. The important il
thing, and that which made Ij
his picture successful, was ji
the planning beforehand — ■

the decision to build conti- !l
nuity while shooting, and |i
thus simplify the task of il
making a screenable picture jj
of his material after return- \\
ing home. jj

TO OUR READERS

We will appreciate calling our
attention to any misleading claim
made by any advertiser in HOME
MOVIES whose product or service
proves unsatisfactory.

home movies for JUNE

PAGE 293

WuL ADVANCED

C^ine^iit

merA . . .

Pastor Hcisel

A photograph of Rev. Ray-
mond G. Heisel, producer of
“A Pain in the Night,” ar-
rived too late to be included
with the story of his Movie
of the Month in the May
issue so we are reproducing
it here.

Reverend Heisel has pur-
sued the cine hobby for four
years and has numerous pic-
tures already to his credit,
some of which have been
screened to more than 3000
people.

All of his home movie pro-
ductions are cued to sound,
the recordings being played
on a double turntable outfit
which he constructed him-
self.

of the finest film studies of
a most difficult subiect I
have ever seen on 16 mm.
stock. It is available now to
all local civic groups, and I
can urgently recommend it
to all non-theatrical organ-
izations.”

The story and script were
written by Mr. Lybarger.
All the camera work was
done by John Borza, Jr.,
deputy county recorder un-
der Lybarger’s supeiwision.

“The greatest difficulty I
faced, aside from the tre-
mendous cost — for this is a
most expensive hobby — is
the fact that it is so difficult
to make history relive
again,” says Lybarger.
“When I step out into the
field of history, I find that
while there are all manner
of things available, it is
most difficult to make books
live or bring life to markers
or inanimate memorials.”

The Story of Racine

John R. Kibar was recent-
ly appointed by the Ra-Cine
Club to head a group of club
members who plan to pro-
duce a documentary on the
city of Racine, Wisconsin.

A shooting script is now
being written and camera
assignments will be made at
the next meeting of the club.
The production will be in
16 mm. Kodachrome.

Historic Film

Attorney Donald F. Ly-
barger, county recorder of
Cleveland, Ohio, is current-
ly engaged in filming an his-
toric documentary on the
old Western Reserve, a term
given in early colonial days
to a section of north-east-
ern United States. Recently
before a group of promi-
nent citizens of Cleveland,
Lybarger screened the ini-
tial film of a series which
will comprise the entire
project. It is titled, “James
A. Garfield, Distinguished
Son of the Western Re-
serve.”

W. Ward Marsh, motion
picture critic of the Cleve-
land Plain Dealer says of
Lybarger’s film : “It is one

• McPeak's proiection layout

Koacl-slioucr!

A few years ago, Wm. C.
McPeak of Manoa, Pennsyl-
vania, bought an 8 mm.
camera, shot the usual
routine of family and baby
pictures, then inspired by
response from showings of
his pictures to local lodges.

You “shoot” with a miniature camera loaded with
KODACHROME Film and the cost is surprisingly low.

If you own a Kodak Bantam //4.5 or
a 35-mm. camera such as tlie Kodak
35, you can make color "stills” with
Kodachrome Film — at lower cost than
you’d believe possilde. The initial eost

is the whole cost — vour finished trans-
parencies, in slides all ready to project,
are paid for when you buy your film. Ask
your dealer to project sample slides . . .
Eastman Kodak Co., Rochester, N. Y.

For color "stills" and black-and-white

$14.50 KOr),4K .5.5 f/S.d — Compact.
Smart. Precision conetriiction. Kodak 35
//4.5— $24.50. Kodak 35 //3.5— $33.50;
with Coupled Ranpe Finder, $47.50.

$22.50 KOD.4K U.4NT.4M
//4..5. Small precision miniature.
Fits the palm of your hand.
Fast, versatile, easy-to-operate.

FOR PROJECTION— Kodaslide
Projector .Model 1 — Small, efficient,
dependahle. Complete with lens,
lamp, and 11 ^-ft. cord — $18.50.

i KODACHROME FILM Eastman’s film for gorgeous full-color "stills"

For the hungry crowd

TITLE

KIT

Master

222 clean-cut, white metal characters, including capitals and
lower case. Choice of plain back ... or, if desired, pin back on
special order. The white letters, however, may be colored with
water-colors for use with Kodachrome, and they are easily wash-
able. Packed in a partitioned box, with an exclusive
templet composing gauge and instructions ’lA.SU

See your
favorite
dealer or
order
from

The Ultimate in

jiTLE-MAKINGj

equipment

The Brown Precision Titler is endowed with
advancements which far surpass any other title
maker on the market. It has optical bench pre-
cision and performance. It makes zooms, flip-
flops. turn-arounds, rear projections, animations,
etc. Quick and easy alignment of the camera lens
with the easel assures properly centered titles.
The outfit includes: Opal glass, clear glass, and
cork backgrounds. 9" x 12" . . . two reflectors
with adjustable brackets
. . . 12-ft. extension cord
. . . vertical pivot bear-
ing . . . target-sight and
supplementary lens
holder . . . field chart for
lens . . . and complete in-
structions. ^

^27.50

! AMERICAN BOLEX COMPANY, Inc. iss e 44th street, new york city

PAGE 294

HOME MOVIES FOR JUNE

STRONG!

Ounce for ounce and inch for inch, this
triprod will hold o heavier still or movie
camera steadier. It telescopes and ex-
tends with a mere twist of the locking
rings, quickly and simply . . . and locks
in position with a giant grip! Completely
rigid construction guarantees sharp un-
blurred pictures.

57" EXTENDED
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Carry it anywhere . . . only 44
ounces . . . with panhead 12
oz. more ... in beautifully
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or carry it under your arm — it
never gets in your way! Also
in tan twill cloth, fabrikoid-re-
inforced carrying case. Only . . .
$2.50 additional.

CONTROL

The only panhead with conveniently inclined
control handle — lets you take pictures from
any angle in one easy motion. One hand con-
trols both pan and tilt — your other hand's
free! Tripod, $9.75. Complete with panhead,
$15.00. At most good photographic dealers!

• Write for your FREE COPY of
"For Better Picture Making." Profusely illus-
trated, completely authentic. Dept. HM-6.

“RUICR-SET”

Manufactured by

WHITEHALL SPECIALTY CO.

1739 Diversey Parkway Chicago, III.

clubs, etc., graduated to
16 mm.

There was a demand for
sub-standard motion pic-
ture entertainment and Mc-
Peak was a pioneer in the
field at least in his terri-
tory. He purchased a Koda-
scope EE projector, then
found it necessary to aug-
ment it with another so he
could screen pictures in pro-
fessional fashion, thread-
ing one projector while the
other was in operation.

This business of exhibit-
ing movies has grown. Only
recently McPeak purchased
a Filmosound “Academy”
model. This enables him to
use 1600-foot reels, give
longer shows without inter-
ruptions. To provide music
and commentary with silent
subjects, he has just com-
pleted the building of a 10-
watt amplifier. This is aug-

• Continued from Page 283

were good at something
else. Conferences with au-
thorities on food, studying
marketing or manufactur-
ing process, and field trips
were all a part of the work
at this stage of develop-
ment.

Before these youngsters
were through there were
many in the group who
could use the language of
the movie maker like a vet-
eran. To give some idea of
what happened, students
said: “I see movies more
critically now” ; “Analyzing
movies has helped me to
judge a good film”; “I
never knew the ‘big shots’
could be so nice to a fellow
in a conference” ; It helped
me a lot in meeting people” ;
“It increased my apprecia-
tion of movies.”

Xhe students did the
work principally them-
selves, but their teachers
and advisors did a great
deal to help advise them. In
several cases these teachers
were skilled and experi-
enced as well as being good
amateur photographers
themselves. This helped out
many times when an im-
passe was reached. Take for
instance alTthe debate and
fuss over the title of the
food picture. The final name
turned out to be “Food the
Modern Way.”

mented by two dynamic
speakers and dual turn-
tables which can be oper-
ated at either 78 or 33-1/3
revolutions per minute and
are capable of playing rec-
ords up to 16" in size. The
above picture shows the
complete equipment which
McPeak transports from
one location to another.

During the past two years,
McPeak devoted much of
his spare time filming the
New York World’s Fair and
now has sufficient film of
this historic event to screen
a two-hour show. He also
recorded on five 16" discs
much of the original music
of the fair together with
many of the announcements
made by officials and con-
cessionaires.

Incidentally, McPeak is
now established solidly in
the business of filming and

exhibiting 16 mm. movies —
a business that sprung rap-
idly from what was once
merely a hobby.

Dayton Film

Edward A. Lucid, chair-
man of the Cinema Re-
search Club of Dayton,
Ohio, reports members of
the club are presently en-
gaged in the production of
a civic documentary to be
titled, “The City of Day-
ton.” The production, in
16 mm. Kodachrome, will
picture the industrial, civic,
and cultural life of this busy
Ohio city. A duplicate of
the production is simultane-
ously being filmed in 8 mm.
Kodachrome.

When completed, the pro-
ductions will be made avail-
able to schools, churches
and clubs.

nalionaii^ acciaimed

i (

I I

■!i

It was always a thrill for
the class on occasions when
members of the American
Council came to Denver to
visit them and lend assist-
ance. Then there were the
conferences with the pho-
tographers and technicians
of the Denver schools.
These were of utmost im-
portance for all details had
to be thoroughly worked
out before even the first
scene could be filmed.

When the scenario was
completed and each com-
mittee had finished its as-
signed task, actual shooting
in the field began. I re-
member one warm Satur-
day morning in April, I ac-
companied this core class
when some actual shooting
was done. On this particu-
lar morning certain se-
quences were needed in a
big bakery to show the
bread-making process from
beginning to end . There
was a division of labor in
the field, and here too, each
youngster played his part.
One group arranged lights
(for indoor photography)
another student made light
meter readings and re-
ported to the camera man,
the script girl kept a rec-
ord of the shot, and so on,
in order that errors would
be reduced to a minimum.

After leaving the bakery
we all went out to a farm.
Here some scenes of spring

plowing were obtained. In-
teresting shots of a huge i!
gang plow coming right to- j-
ward the camera, the plow-
man silhouetted against the
sky on a knoll with pictur- ^
esque cumulus clouds form-
ing the background were ;
the things these young ji
movie makers were after, i
Pigs, chickens, cattle, and ji
other farm animals were
the actors in several se- j
quences taken on this morn- I
ing for as meat animals 1
they too played a part in
“Food the Modern Way.” ■

When the films came J
back from the processors
there was work to do. Edit- j
ing, cutting and splicing !
were keenly enjoyed. The ^
scene of these activities was |
the photography room in ’
the central administration I
building where a titler, re- iij
wind, splicer, and all other /
necessary materials were to i
be found. This equipment,
by the way, is available for !‘
the use of all schools par- .jj
ticipating in the motion pic- ji
ture production.

Looking back over the en- l|
terprise, it certainly seems ||
fair to consider it a success.
The films remain in our ^
Denver school film library ]
and are used continuously |
by first one group and then I
another to learn about I
“Food the Modern Way” in
Denver. ‘

home movies for JUNE

PAGE 295

Summer time i&

• Continued from Page 274

want to film a farm scene
with cows in the foreground
and a white silo towering
against the sky. Normally
on positive film this would
be one of those scenes that
we just look at and pass by.
However, use of the proper
filter and by processing the
film with a formula that
will minimize halation, it is
possible to record the scene
quite satisfactorily.

When first I made tests,
I looked about for a subject
which I never before had
been able to record success-
fully with positive film.
There is a white statue on
the Benjamin Franklin
Parkway in Philadelphia
which can be filmed suc-
cessfully only by shooting
from a low angle with the
statue silhouetted against
the sky. The first filter I
used was the light yellow
K-1. The procedure was to
take a shot at normal ex-
posure without a filter ;
then make a series of shots
with each of the filters,
each time increasing expo-
sure by one half stop. Thus
when film was developed I
could pick out the exposure
that looked best and deter-
mine the factor for each fil-
ter used. The results of
tests with the light yellow
filter were very encourag-
ing. This filter required a
factor of 4 x, an increase in
exposure of two stops.

The next filter tested on
the same subject was the
medium yellow or K-2. Af-
ter testing this, I found it
would be necessary to open
up the lens four stops thus
giving a factor of 16 x. Ob-
viously the results were not
as satisfactory as the K-1
since the K-2 had a ten-
dency to decrease the over-
all contrast and lose detail
in the foreground.

Then the green or X-1
filter was tested. It was not
as good. The sky did not
darken up very much and
the statue seemed to merge
with it. On a farm scene
similar to example already
described, the X-1 lightened
the grass slightly but I still
had the white sky. The fac-
tor for this filter was 3 x,
requiring opening up lens
approximately one and one
half stops.

One of my friends sug-
gested I try a standard red
G filter. I was dubious
about the result but tried it.
No reasonable increase in
exposure would give me
anjd;hing on my film at all.
I even shot at f 1.9 in bright
summer sunlight.

The next test and the one
that gave me the best re-
sults was made with the
very light red Kodachrome
“type A to daylight filter.”
In making tests with filters,
it must be remembered that
certain portions of the sky
appear lighter than others.
The sky opposite from the
sun will appear the deepest
blue to the eye and darkest
in the finished film. I found
that the Kodachrome filter
required an increase of only
one and a half stops. This
is a decided advantage since
positive film is slow and its
speed should not be de-
creased too much by use of
heavy filters. The Koda-
chrome filter is made to hold
back a very small amount
of blue light so as to give
the proper rendition when
indoor Kodachrome is used
outdoors, and this is the
reason it works so well on
positive film. It holds back
just enough of the sky to
make it appear dark on the
film without absorbing too
much of the light in the
foreground. When this fil-
ter was used on the statue
with the bluest portion of
the sky for a background
was rendered a pleasing
grey with the clouds show-
ing clearly as may be seen
in the enlargement accom-
panying this article.

Feeling very much elated
over the preliminary results
I then decided to make a
more thorough test. I went
to the New York World’s
Fair and used the Koda-
chrome filter on everything
I filmed. The results were
far beyond my expectations.
For the first time I had a
shot in which the trylon and
perisphere stood out against
a darkened sky. It was the
same way with all the other
buildings. Out of 100 feet of
8 mm. film there was not a
scene in which the sky was
an objectionable white.

To sum up the results of

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HOME MOVIES
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HOME MOVIES — 6060 Sunset Boulevard, Hollywood, Cal.

PAGE 296

HOME MOVIES FOR JUNE

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and haze filters.

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BOSTON. MASS.

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or 100 Sixth Ave., New ^’ork, N.

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^ m

the tests, it was found that
by using the Kodachrome
filter on positive film and
then developing the film in
formula published in the
April Issue of HOME
MOVIES I came as close to
pan results as is possible
with positive film.

While these experiments
I’m sure will be of interest
to many amateurs, the re-
port of what I term their
success is not intended to
mislead anyone to think the
result is comparable to that
possible with panchromatic
film. Naturally, the more
color-conscious panchroma-
tic films respond more gen-
erously to filters than do the
almost color-blind positive
emulsions. One need only
recall some of the filtered
scenes in theatrical movies
to comprehend what is in
store for the amateur who
uses regulation filters with
panchromatic film.

Those interested in using
filters for their summer

movies need waste little
time on the characteristics
of the full range of filters
available for cine cameras.
One can find a specific use
for each and every one, pro-
viding of course he has the
time and the money to ex-
pend upon lengthy experi-
ments. Most amateurs’ in-
terest in filters begins with
the desire to darken sky
areas and thus bring out in
vivid detail interesting
cloud formations. Such op-
portunities will prevail in
abundance during summer
filming expeditions and it is
for this reason t'^at the
most appropriate filters for
such effects will be de-
scribed for use with pan-
chromatic film.

For very slight correc-
tion of sky areas, use a yel-
low filter. Where a deeper
tone of the sky is desired, a
G filter may be employed.
This is orange in color and
requires slightly more ex-
posure than the lighter, yel-

^cenet^ isn

o Continued from Page 271

I ali til ere id to J

ture outside to starve !” To
all the questions, his an-
swers are emphatically
“Yes” !

In exasperation, the hus-
band stops the car; turns
around and heads for home
— telling his wife they’ll go
back so she can check every-
thing for herself. They stop
at the curb with brakes
screeching and the wife
hurries into the house. The
husband watches her in-
tently up the walk, then as
she enters the door, a ras-
cally smile comes over his
face. He throws the car in
gear, and pulls away, regis-
tering a big sigh of relief.

P roceeding down the high-
way, the husband snuggles
down comfortably in the
car seat, lights a cigarette
and smiles as he contem-
plates a nice quiet vacation
by himself. Suddenly there’s
a cough in the motor, a
backfire report, and the car
begins to loose speed. The
startled husband sits up,
then looks at the gasoline
gauge, and a closeup shows
the needle_j)n the empty
mark.

In the meantime, the wife
has returned to the curb
and finding the car and hus-
band missing, goes into a

“slow burn.” In high dudg-
eon she stalks back into the
house, slamming the door
after her.

Cutting back to the hus-
band, we find him walking
back toward town. Stop-
ping at a service station for
a can of gas, he is further
chagrined to find he has
forgotten his wallet! Of
course he is obliged to re-
turn home and humbly face
his wife, and when the car
is re-fueled and they are
again on their way, it is the
wife that takes the wheel,
the husband setting glumly
beside her.

This whole plot while serv-
ing as an opener for the
vacation picture also af-
forded opportunity to inter-
cut scenes made of the trip
along the way. But much
of its punch would have
been lost had the comedy
ended with the Mrs. taking
the wheel when they re-
sumed the journey. There-
fore, a running gag con-
tinued through the picture
closely allied with the plot
in the opening sequences:
They forget to bring
matches along; the wife
fishes without catching
anything until her husband
reminds she forgot to bait
hook ; and many similar

low filter. For those dra-
matic shots of black skies
and fleecy white clouds, use
of a red “G” filter is neces-
sary with lens opened up not
quite as far as indicated by
this filter’s factor.

Thus if you are shooting
in the mountains this sum-
mer— at Yosemite, Yellow-
stone Park, or at Bryce
Canyon for example, where
fleecy white clouds go scud-
ding across the skies daily,
you’ll want to bring along
one or perhans all three of
these filters. There are oth-
ers, of course ; but for the
tyro, to describe them and
catalogue tbeir uses would
only serve to complicate the
issue. There are many other
uses for filters aside from
that of enhancing sky and
cloud effects as just de-
scribed. But our data is in-
tended for the vacation
filmer at the moment, and
those eager for a more ex-
tensive treatise must wait
for a future issue.

events that bring out that
one or the other forgot
something — in spite of their
embarrassing experiences
at the beginning of the pic-
ture. Finally in the closing
sequence, a tire goes flat and
it is revealed that in mak-
ing room for their luggage,
etc., they forget their spare
tire. They are limping home-
ward with the dilapidated
tire flapping against the
pavement. The husband is
gripping the wheel and look-
ing grimly ahead while his
wife glares at him.

One can readily visualize
what a boost these comedy
“shots in the arm” can give
any vacation picture. They
detract not at all from the
purely scenic shots record-
ed on the trip, yet hold the
audience in a state of ex-
pectation until the final
scene.

The success of good home
movies today is assured
when threaded with a good
running gag or light con-
tinuity. “Dream up” a gag
for that vacation film of
yours, then when shooting
is completed tie the whole
together with good editing
and ample titles and listen
to your audience rave after
its preview!

home movies for JUNE

PAGE 297

;l|

; I

•TITLE TROUBLES-

By GEORGE W. CUSHMAN

If you have any questions
I concerning titles or title-
I making, Mr. Cushman will
' be glad to help you. You can
I write him in care of this
I magazine or direct to his
j home address, 3425 Witmer
I Parkwa}’", Des Moines, Iowa,
i Be sure to enclose a self-
addressed stamped envelope
I for your reply. It is also
j well to include a sample or
drawing when possible, as
well as data regarding the
i developer used, kind of illu-
: mination, film, lens open-

I ing, etc.

! Q. Is it true that there is
. very little variance in title
Ij exposure between one film
and another with reversal
j films 1 1 have heard that f.ll
in s^inlight is correct for any
: film. Why is this, if it is cor-

I rect at all? — S.M.,LosAn~
geles, Calif.

j A. If the title background
were jet black and the let-
ters snow white, th e chances
are you would get a satis-
factory title on most any re-
versal film exposed at f.ll
in the sun, whether it be
Super XX or positive film
reversed. As long as the
white letters fall in the over-
exposed portion of the film
and the black background in
the under-exposed portion,
you would, of course, have
good results.

The slow films should re-
produce white letters, clear
at f.ll, and a black back-
ground should still be dark
on the faster emulsions, so
your statement can be con-
sidered as substantially cor-
rect.

Q. Hoiv are fade-ins, fade-
outs, and lap dissolves made
with direct positive film? —
G. V. H., Brainerd, Minn.

A. A lap dissolve is made
no differently with positive
film than with reversal film.
One title is faded out, the
film is wound back, and the
next one faded in. To make
a fade-in, the same proce-
dure is used except that the
first fade-out is made on
plain white paper, the film
is wound back and the fade-
in is made on the title. For
the fade-out, fade out on the
title, wind back the film and
then fade in on a piece of

v/hite paper. The use of
“Foto-fade,” a chemical dye
solution, is preferred by
many persons, since no fad-
ing or winding back of the
film is necessary during the
exposure. After the film is
developed the dye is applied
and the fade obtained. The
dye cannot be used for lap
dissolves, however.

Q. A demonstrator at a re-
cent club meeting said any
developer could be used in
making titles, and that the
length of time governed the
contrast. Is this true, and
if so, ivhy are there special
contrast forymdas ? — N. B.
W., New York, N. Y.

A. This is true, and any
film can be used, too. The
softest film and the softest
developer can produce good
contrast if exposed and han-
dled correctly, but since the
job is accomplished much
more easily and quickly and
with less chance of error by
using contrasty film and
contrasty developer, there is
no reason to employ the
more difficult way.

Development governs con-
trast. Any film can be placed
in any developer, and if de-
veloped long enough will
have plenty of contrast. In
the meantime, however,
chemical fog is likely to ap-
pear due to the prolonged
development.

Since nothing is gained by
making titles with soft film
and developers, contrasty
emulsions and formulas are
preferred.

Q. What is the blackest
paper or other substance for
use in making double-ex-
posed titles over a moving
backgrotind? — M. B. C.,
Dallas, Texas.

A. A piece of deep pile cot-
ton velvet is about the dark-
est material there is for
work of this kind. White pin
letters, wood block or cut-
out letters go best with it.
It is absolutely- black, and
even at wide apertures will
be found to absorb practi-
cally all the light.

In painting letters on card-
board, there is a matte sur-
face which is very good. In
selecting any black sub-

DE LUXE TITLE LETTER

Here is something brand new to add sparkle
and novelty to your movie titles . . . Famous
Knight Metal Letters and a beautiful Wood-
grain Background.

DeLuxe Sets are available in:
Classic or Script $9.00

Postpaid for cash with order.

Broadway or Modern Block, $7.00

Postpaid for cash with order.

Specify whether you wish black
or white letters

Write for Samples and Descriptive Circular

KNIGHT & SON, INC . Box B, Seneca Falls, N. Y

Wherever You Go-

— on your vacation, look for this emblem! On the cameras of amateur
cinematographers or gracing their lapels, tlie REEL FELLOWS’ emblem
indicates a brother movie amateur whose acquaiutauce and friendship
will bring you added movie-making ])leasure.

Are you a REEL FELLOW’? W’hy not join today? Sl-00 member-
ship fee brings membership card, gold emblem, and camera insignia.
Just write to —

The REEL FELLOWS 6060 Sunset Boulevard, Hollywood, Calif.

PAGE 298

HOME MOVIES FOR JUNE

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stance for work of this na-
ture, hold it at an agle to a
bright light and see how
much light is reflected. Care-
ful lighting of the title will
reduce much reflection.

Q. Can chemical fades be
used in making lap dis-
solves?— G. W. R., Provi-
dence, R. I.

A. Yes, in a way. As you

probably already know,
chemical fades are possible
only with developed film —
that is, with the positive
print. If you have two scenes
which you wish to dissolve
by the lap dissolve method,
you can make a chemical
fade-out and -in on these
two scenes. Then by making
a duplicate of these two
scenes you can effect your

Wovie of tke Wontk

o Continued from Page 276

out the eye of his crimson
opponent, and immediately
thereafter the color of this
fish begins to fade. It is said
that as this fish continues in
battle his color gradually
fades from red to white, re-
gardless of whether any in-
juries are inflicted on him
or not.

Although he now has but
one eye, the red battler is as
vigorous as ever, charging
repeatedly at his evasive
opponent, and it is interest-
ing to see how rapidly he
swerves about in order to
keep his one remaining eye
upon his adversary.

The dark fish draws away,
leaving the red fellow limp-
ing near the bottom of the
aquarium. Suddenly we see
the charger emerge into
view near the top of the
glass. Then, like a Stuka
bomber, he dives straight
for his opponent. There’s a
flash of black as he streaks
through the water. Sinking
his jaws into the side of his
opponent, he rips the fading
red flesh. There is a half-
hearted effort of the at-
tacked fish to return the
fight, but he is mortally in-
jured and soon expires.

The fight is by no means
one sided. The “Joe Louis”
of the aquarium is dealt
many blows, but like the
Louis of the ring, he is able
to “take it” and thus live to
fight another day. Nor was
the bringing of these two
aquatic battlers together a
cruel act. Fighting is the
natural pastime of this
species of fish. In their na-
tive south seas, they thrive
on fighting where the sur-
vival of the fittest seems to
be the order of things.

Dr. Gerstenkorn spent
much time in studying the
fighting habits of these fish.

Many pairs were purchased
by him and placed in the
aquarium for study before
a single frame of film was
exposed. It became neces-
sary to determine where the
fish preferred to fight ; close
to the top, or at the bottom
of the aquarium; or in the
dense growth of seaweed
spring up in the center of
the glassed arena. Lighting
had to be planned and it
was discovered that the hot
photofloods could be left
burning only a short period
at a time.

Then with lights arranged,
and camera set up before
the aquarium, another ob-
stacle was encountered —
that of keeping the fish to-
ward the front of the aquar-
ium so they would always
be in focus and unobscured
by the sea grass. To over-
come this, a panel of glass
was placed within the
aquarium, forming a divi-
sion with the fish in the
front half and the grass in
the back.

A Zeiss Ikon 16 mm. cam-
era was used with regu-
lation one-inch lens. This
camera i^rovides for focus-
ing directly through the
lens and use of the one-inch
lens assured the necessary
depth of focus. While aux-
iliary lenses may be em-
ployed for shooting scenes
of this kind, they limit the
depth of focus with the re-
sult the fish would only be
in sharp focus some of the
time.

It is worthy of note that
in his second outstanding
picture. Dr. Gerstenkorn
has chosen a subject with a
single locale, requiring no
complexity of locations just
as he did for his picture
“The Cauldron,” the locale
of which was a city public

lap dissolve. When the fade-
out has been recorded on the
raw film, run the raw film
back in the printer to where
the fade-out began. At this
point start the fade-in of
the second scene, and your
lap will be complete. There
is no way of using chemical
dyes for dissolves on unex-
posed or undeveloped film.

square but a block in extent.
One might surmise that Dr.
Gerstenkorn is a filmerwho
dislikes to move about much
and would rather film a
topic from one single cam-
era set-up, perhaps sitting
behind his camera on a
cushioned stool to make the
pleasure less of a task. The
truth is, the Doctor has a
peculiarly keen eye for
drama in everything that
goes on about him. His keen
analytic sense recognizes
filming fare wherever he
goes. He disdains scripts,
or any kind of preliminary
plans. He shoots as he goes.
But he posseses a keen sense
of editing values which ac-
counts probably more than
anything else for the suc-
cess of his movies, like the
drama in a fish bowl, “Trop-
ical Ecstasy.”

Reviewed films will be roted
one, two, three, and four stars,
and films qualifying for two or
more stars will receive, free, on
animated leader indicative of such
award. Detailed reviews, with sug-
gestions for improvement — if ony
— will be mailed to amateurs sub-
mitting their films.

Exceptional films qualifying for
the distinction of the "Movie of
the Month" will be treated in de-
tail in a feature length orHcle in
a following issue of HOME MOV-
IES. In addition, a certificate evi-
dencing the award of "Movie of
the Month" and a special oni-
moted "Movie of the Month"
leader will be returned with such
films after review.

When submitting films for re-
view and analysis, please advise
make of camera, speed of lens,
whether or not tripod was used,
or if you used filters, exposure
meter, or other accessories.

home movies for JUNE

PAGE 299

certa

Before you shoot be
jin of focus and exposure.
It's too late after. Be 100%
correct with these F*R Products.
At leading dealers everywhere.

F-R PRECISION RANGE FINDER

For use with all cameras — movie and
still. Large, square field, brilliant
image and a guarantee of accuracy
are among many individual features.
Satin chrome finish, complete
with cowhide case.

S575

F-R EXPOSURE METER

Extinction type meter — accurate, dur-
able and easy to use. Takes but a
moment to make a reading. For every
light condition — for every camera user.

NEW YORK CHICAGO LOS ANGELES

GOERZ

KINO-HYPAR

LENSES

f:2.7 and f:3

For regular and color
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quality — high chro-

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I Focal lengths 15mm to lOOmm — can be fitted
in suitable focusing mounts to Amateur and
Professional Movie Cameras.

GOERZ Reflex FOCUSER

— Patfntfd —

For l&mm Movie Cameras — voids PARALLAX
between finder and lens — provides full-size
ground-glass image magnified 10 times. Adapt-
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GOERZ Parallax-Free FOCUSER
and FIELD FINDER CONTROL

No more off-center pictures, for Filmo 121 and
Slmplex-Pockette magnifies 4 and 8x.

For Drtailed Information Address
Dept. HM-6

C. P. Goerz American Optical Co.

317 East 34th St., New York

American Lens Makers Since 1899

Positive Film Speeds (0. L.
Kupferer, St. Louis, Mo.)

Q. What are the Weston
ma.zda speeds for some of
the popidar brands of posi-
tive film applicable for di-
rect positive title making,
and hoiv should I use an ex-
posure meter to obtain cor-
rect exposure in shooting
titles ?

A. As speed ratings of all
cine films vary according to
the developer used, this is
an important point to con-
sider by the amateur devel-
oping his own positive film
titles. Some developing for-
mulas bring out more in a
film than others. A rating
of Weston 1, mazda, comes
pretty close to fitting the
average positive film.

Use of exposure meter is
not always productive of the
desired results. Best method
is to shoot a test strip com-
posed of exposures made
with the full range of open-
ings of your lens. Then de-
velop and examine it for the
desired contrast. Select the
exposure giving the most
satisfactory contrast and
shoot your titles according-
ly, developing them with the
same formula as used with
the test strip.

Frame Lines (Eva Jagoe,
Calgary, Alberta, Canada) .

Q. Whenever films exposed
in one or more different
cameras are spliced to-
gether, I find it necessary to
constantly re-frame the film
as it mins through the pro-
jector. Obviously this is due
to the difference in position
of the aperture with rela-
tion to the sprocket holes in
each camera. Can the claw
which moves the film into
position in the gate be ad-
justed to remedy this fault ?

In making a club picture,
it is not ahvays convenient
to have all scenes shot with
the same camera; then there
often is the desire to allow'
several members shoot the
scenes for the production.

A. As far as we can de-
termine, all cameras of one
brand of manufacture have
the same frame line setting.
Unfortunately all manufac-
turers have as yet failed to

• Re.\ders: This department is
for your benefit. Send in your
problems and our technical
board of professional camera-
men tvill ansiver your question
in these columns. If an ansiver
by mail is desired, enclose ad-
dressed stamped envelope.

get together to establish a
uniform location for the
film apertures of their cam-
eras with the result that the
fault you describe continues
to plague amateurs screen-
ing films made with one or
more different makes of
cameras.

We are informed that with
some makes of cameras this
fault may be corrected, not
by adjusting the intermit-
tent claw, but through ad-
justment of the aperture
itself within the camera.

Title Areas (Waldon Tamp-
ner, Miami, Fla.)

Q. I have just completed
a home-made titler which
will enable me to make titles
of various sizes. Can you
furnish me luith a chart
shotving title areas at vari-
ous distances ?

A. You failed to give any
idea of the title card sizes
in which you were most in-
terested. However, we are
listing below the dimen-
sions of title areas which
are popular with most ama-
teurs hoping thej’ will serve
your purpose: (Left hand
figures indicate distance of
title card from camera lens ;
figures at right indicate
title area.)

6" — 2%"xl%"

8" — SV8"x2%"

10" — 4" x3"

12" — 4'y8"x3%"

15" — 6" x4U"

20" — 8" X 6"“

30" — 12" x9"

16 mm. Lenses for Eights
(Leonard W. Horn, Wil-
loughby, Ohio).

Q. Is a one-inch 16 mm.
camera lens more efficient
ivhen adapted to an 8 mm.
camera than the regular
8 mm. lens? What advan-
tages, if any, ivould there
be in such an adaptation?

AliniCUlS 16-nim. liECOlWEn

Variable-area sound on film, for double
system recording wilh any synchronous
moior driven 16-mm. camera. Amplifier with
background-noise reduction and mixers for
combining speech and music. Including
dynamic microphone, instructions and cases
for Recorder, Amplifier, Accessories $695.00

Ask your Dealer, or write today
for free descriptive booklet.

AURICON

E. M. BERNDT CORP.

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RECORDING EQUIPMENT SINCE 1931

PAGE 300

HOME MOVIES FOR JUNE

THE INSTANTANEOUS READING

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amber, yellow; 400 ft. 8-8 or 16 $3.85; 100 ft. $1.00.
Weston 24-16 Pan N. H.. 400 ft. 8-8 or 16 $11.65;
100 ft. $3.20. Weston 64-40 Pan N. H., 400 ft.
$12.65, 100 ft. $3.60. Comedies and cartoons, 100 ft.
16 mm., regular $2.00, special at $1.49; 50 ft. 8 mm.,
regular $1.00, now 79c postpaid. Castle Films, Cam-
eras, Projectors. Accessories, Title Service. Orders
over $2.00 postpaid. Buy NOW, take advantage of
these specials before prices rise.

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BAIA MOTION PICTURE ENG.
259 Gerald, Highland Park
(Detroit), Michigan

Wovld a one-inch 16 mm.
lens act as a telephoto on an
8 mm. camera?

A. The gain in efficiency
would be in the added depth
and detail the 16 mm. lens
woidd give. However, the
residts would be similar to
that if a regular one-inch
telephoto lens were used. In
other words, area of field
would be less than that of
regular half-inch 8 mm.
lens. Care would have to be
exercised in adapting such a

lens to insure that distance
from film plane to center-
point in the 16 mm. lens was
exactly one inch.

Single Frame Exposure

(Bert Tarnon, San Fran-
cisco, Calif.)

Q. I have a Bell & Howell
Companion 8 mm. camera
with the single frame re-
lease. Could you tell me
what is the rated exposure
at single frame speed with
this camera? I plan to make

Eeth

,er movieA aim

• Continued from Page 281

teuiewd

planting and harvesting se-
quences. Camera angles,
exposure and focusing are
excellent.

Editing: One need not
look twice to recognize in
this film, the producer’s
knowledge of editing tech-
nique. The frequent change
from long to medium and
doseiip shots; the accurate
cutting of scenes for length ;
and proper placement of ti-
tles, all tend to place “Poi”
in the professional class.
Our only suggestion would
be to change the treatment
of the story so that the
opening sequence would
give a full explanation of
the origin of poi and explain
its importance in the life of
native Hawaiians today;
then proceed with telling
the story of how poi is pro-
duced commercially and
sold in bags at neighboring
markets, thus relieving the
Hawaiian family of one do-
mestic task.

Titling: The titling of this
picture was expertly done.
Not only were the main in-
troductory titles well de-
signed and photographed,
but the succeeding explan-
atory titles were well com-
posed and placed in the
film. These latter consisted
of white letters over a deep
blue background.

"ADVENTURE IN COLOR" ★★

300 feet 8 mm. Kodachrome — By J. L. A.

Continuity : This is an in-
teresting account of a trip,
or perhaps a number of
trips made by the filmer
which begins with travel
scenes in Boston, followed
by a lengthy sequence on an
American Legion Conven-
tion parade^and then scenes
of other points in New Eng-
land on which this filmer
trained his 8 mm. camera.
The closing sequence is com-
posed of shots of flowers

made within the home gar-
den.

Photography : The photog-
raphy in this picture was
only fair but this is obvi-
ously due to the fact this
venture was the filmer’s
first with Kodachrome.
Many of the shots are un-
derexposed and an equal
number are prediminately
over-red in tone. One thing
to remember in using Koda-
chrome is that the scene
must have plenty light.
Shooting into shadows, as
was done in one of the shots
of two people posed in a
garden, does not net the
best results on color film.
Under shadow conditions, it
is necessary to open up lens
more to obtain proper ex-
posure of faces or objects
in deep shadow.

Editing and Titling: This
subject required little edit-
ing in the true sense of the
word, except for cutting
and splicing scenes in a
pleasing arrangement.
However, this filmer did a
fine job of titling from be-
ginning to end, both as to
composition and arrange-
ment.

Suggestions: The sequence
of flowers within the gar-
den at the end of the reel
could be eliminated en-
tirely ; perhaps saved for
some other reel of subjects
more pertinent to it. The
picture readily stands alone
without it in spite of the
fact the flower garden
scenes are equally well pho-
tographed and composed.

"A CHRISTMAS EVE

DREAM" ★★★

125 feet 8 mm. — By A. W. H.

Contimdty : A very pleas-
ing story motivates this
yuletide picture. At the be-
ginning a little girl is intro-
duced seated at a table and
writing with colored cray-
ons. Her mother, seated

a film using stop motion and
do not want to make a lot
of experiments in order to
determine exposure.

A. When using the single
frame release on your cam-
era the exposure obtained is
l/25th of a second. Thus to
calculate the correct lens
opening to be used, find the
proper exposure established
for l/25th of a second under
prevailing or desired light
conditions and for the film
you expect to use.

nearby, suggests she write
a letter to Santa Claus.
Pausing thoughtfully, the
little lass asks her mother
what Santa brings to bad
little girls, to which her
mother responds, “Nothing
but lumps of coal.” To some
it may be best explained
that in some parts of the
country this is an old leg-
end.

The little girl hangs up
her stocking over the fire-
place and is then put to bed.
Fast asleep she soon dreams
of Santa Claus, and the
dream sequence is moti-
vated by the statement of
Pm mot’mr with the little
girl finding only chunks of
coal waiting for her on
Christmas morning. She
starts to cry and t’ns awak-
ens her. The mother comes
to her room, reassures the
child she was dreaming and
induces her to go back to
sleep. When she awakens
the next morning, she finds
a bountiful Santa has
brought her a host of nice
things which are shown dis-
tributed about the tree.

Photography: As the en-
tire picture was filmed in-
doors, it called for use of
artificial lights, and these
were appropriately used,
resulting in well lighted
scenes. Camera angles were
good and there are many
fine closeups.

Editing : All scenes are
kept to interesting length —
none held too long in spite
of the fact it is often diffi-
cult for one to trim footage
of scenes of their precious
youngsters. Closeups were
properly cut in to accent in-
terest.

Titling: All titles were
well composed and satisfac-
torily exposed and were
sufficient to knit the story
together in a pleasing and
interesting manner.

ORDER FOR SUBSCRIPTION

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home movies for JUNE

PAGE 301

Quality Bulk Movie Film

8mm o 9'/2mm • 16mm • 35mm

SUPER PANCHRO REVERSAL-

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FILM-Not Scored

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Clear, Purplehaze. Yellow, Red. Amber. Special Blue.

Also DuPont Lavender, Pink, Light Amber.
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air mail $1.00 extra. Overpayments refunded or
credited. No stamps, please.

CAMERA SPOOLS WITH CANS— Each

Double 8 $ .35 Keystone St. 8 . . $ .35

Vnivex 8 20 16 mm., 50 ft. . . .50

Eastman Double 8 . .40 16 mm.. 100 ft. . . .60

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100 ft. and 50 ft. 16 mm. size 10

Non-IIumldor, 400 ft. 15c each; 10 for . 1.00

MISCELLANEOUS

BATA Precision .\11-Metal 8 mm. Slitter . . $2.50
FOTOFADE DYE. for making Chemical Fades 1.00
FOTOFADE WIPE-OFF TAPE, per roll ... .60

CINETINTS. 6 Colors and Instructions .... 3.00

DuPONT VISCOSE SPONGES, each 35

HOME MOVIES, Back Issues, 1936-37^38 . . .15

Not all months in any year, 1940-41, each . .30

TITLE DEVELOPER, tubes, each make 16 oz. .15

Write for Complete NEW Price Lists

W. STUART BUSSEY FILM LAB.

17 E. St. Joseph St.

Indianapolis, Ind.

PLt /

or ou

tin

fil

For MOVIE

REELS

Safe, modern protection for your
reels. Keepb them clean and they
are easy to hie and htid

MOVIE REEL FILE

Compartments for 9 metal
reels of 8 mm film. Size 8’,s x
X 5%". Index chart on in-
side cover. Choice of blue,
green, red or black binding.

At stores or sent
prepaid on 10 Days
Money-Back Trial.

Write for folder describing
these and other Amfiles
for Miniature Negatives,
Flat Negatives, prints, etc.

AMBERG FILE & INDEX CO.

Quality Products Since 1868

1613 Duane Boulevard Kankakee, Illinois

$J50

8mm BULK FILM 16mm

NON HALATION WESTON 8

Fine grain, semi-othro. Can be used in any
straight or double 8mm camera.

200 ft. 8mm in double 8mm width, $1.75

For titles, negatives, reversal, positives. Labo-
ratory packed. Formulas included. Write for
catalog on bulk film. 8mm, 16mm, 35mm.

HOLLYWOODLAND STUDIOS
SOUTH GATE CALIFORNIA

The “A to Z” trace • a • title
method is the first real Im-
provement over the old fash-
ioned way of title making.
Only outfit with Twelve Aloha-
bets. Initials, Numerals, Title
Tricks, etc., for only $2.00. De
luxe outfit only $3.00 at your
dealer or direct. Write for Free
Kit today — Dept. H26.

AtoZ MOVIE ACCESSORIES CO.

175 FIFTH AVE.,NEW YORK CITY

® Continued from Page 275

for both unit and overall
running time, to aid in syn-
chronizing.

1. Opening: ( :05) (:05).
Dad asleep in easy chair.
Close-up of relaxed hand
with pipe. Slow pan to face,
covered by comic section of
Snndav naper.

2. Title: ( :50) (:10) —
“Let’s Have a Picnic!”
Background color should
harmonize with preceding
scene.

3. Preparing: (:15)

( :25) — Close-up montage
of faces looking up, express-
ing approval. Youngster
wakes father. All but father
help set out food.

4. Loading: ( :13) ( :38)
— Long, medium and close
shots of group putting food
into the car. Dad helps only
by carrying comic section
along.

5. Trip : ( :12) ( :50) —
Long shot of car pulling
out. One or two views
through windshield.

6. Arrival: ( :10) (1:00)
— ^Windshield view as car
pulls into campground.

7. Unloading: (:12)
(1:12) — Dad wanders off
with paper, youngsters
scurry away and mother is
left to set out food. Final
shot should show mother
setting down a kettle and
looking up to distant view.
Camera follows her gaze as
transition to next scene.

8. Scenery: ( :34) (1:46)
— Family goes off to view
landscape. Vary to suit oc-
casion. Include pictures of
the group, so composed that
they frame a scene.

9. Lunch: ( :29) (2:15)
— Miscellaneous humorous
shots around the table.
Final one should show one
of the members with satis-
fied expression of a full
stomach, as he leans back
to rest.

10. Siesta: ( :25) (2:40)
— Dad and the older mem-
bers relax on the grass.
Same comic section is over
dad’s face. Mother is clean-
ing up dishes. Include rich
cloud shots, perhaps a close-
up of swaying flowers and

11. Playtime: (:15)
(2 :55) — The energetic chil-
dren collect rocks, play in a
stream or whatever sur-
roundings permit.

12. Time to Go: ( :13)
(3:08) — Sim is low. Dad
points to wrist watch with
the folded comic section.
Children reluctantly start
for car.

13. Packing Up : ( :14)
( 3 :22) — Blankets, food and
dishes into trunk. Young-
sters hang back, want to
play more.

14. Departure : ( :08)
(3:30) — Car pulls away,
through long shadows.

15. Last Look Back:
(:06) (3:36)— Shot
through rear window as
campground recedes in the
distance.

16. Children: (:06)
(3 :42) — They are asleep in
the back seat, the same
comic section over their
f ^CGS

17. Sunset: (:18) (4:00)
— Rich colors of evening
clouds to fit the inspiring-
music which closes the rec-
ord. Shoot at slow speed to
increase apparent motion.
No end title is needed. Fade
sunset if possible.

While this idea is not
startlingly original, it has
the advantage of being both
concise and composed of fa-
miliar material. Coupled
with this great music it
will be very outstanding.
Among the novel features
is the elimination of all but
one title, and that follows a
bit of opening action, in the
best new Hollywood tradi-
tion. If you wish, you might
add a brief credit line for
cost and photographer.

All the shots are easy to
make, and the scenario can
fit almost any outing. One
special word on scene 16:
it can be made later by
heading the car northwest,
so the late afternoon sun
will slant through the win-
dows to illuminate the
youngsters and the paper.

Keep in mind scene
lengths when shooting. By
over-shooting slightly, there
will be ample material to
edit to exact length. Fre-
quent change of camera
angle helps avoid monotony
and aids in telling the story
more quickly.

Editing can best be done
by cutting to length, rather
than attempting to time se-
quences in the projector. As
you know, 8 mm. film runs

Sunshade-and*

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clear, detailed — with a precision-cali-
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Kodachrome), utility carrying pouch.
Only $5.95 for most models. At dealers,
or write tor information: Dept. H-6.

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Ingeniously designed and made of heavy
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Titlors ‘.V)

sturdily constructed of light aluminum al-
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86 Third Street San Francisco

PAGE 302

HOME MOVIES FOR JUNE

GRAPHICHROME MOVIE FILM

PUT COLOR IN YOUR MOVIES . . .
Use this NEW "Colortone" Tinted Film!

Excitinff new tint base film Rives new life to blaek
and white mvoies . . . project softly tinted pictures in
lifelike eolors. Fine for closeups, landscapes, sunsets,
moonlight effects, etc. Ideal for titles in color ... a
pleasing relief you can add to your old continuities.
COLORTONE handles easily in red light, can be
processe<l at Iiome if desired.

Your choice— PI N K. AMBER. LAVENDER. YELLOW
★ 100 ft. dbl. 8 * 100 ft. sgl. 8 * 400 ft. 16 mm.

$1.65 $1.00 $4.50

SPECIAL ASSORTED COLOR OFFERS!

100 ft. d-hl. 8 mm. ( 25 ft. of each color) . . . . $1.75

400 ft. sgl. S mm. (100 ft. of each color) . . . ! 3.75

400 ft. 16 mm. (100 ft. of each color) 4.75

_^WR1TE FOR BIG NEW BARGAIN CATALOG
"^AND FREE GIFT OFFER.

Get our prices on cameras, nrojectors, supplies, acces-
sories. bulk film, processing service, etc.

nteco

$395

Each kit includes: One l>iiral filter-holding, tolt-lincd
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glass filters.

Kit No. I: Bell & Howell, Double 8 P3.5, Revere,
I^eystone 8. Univex FI. 9. F2.5, F2.7, F3.5. Keystone
16mm. F2.7, F3.5. Kit No. 2: Bell & Howell F2.5.
Kit No. 3: Argus C. C2, C3. Kit No. 4: Leica 50mm,
Elmar F3.5. Kit No. 5: Eastman Kodak, 8mm. Mod-
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Your choice of filter colors. Yel- a iomm*
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See it at your Dealer's today! or write

Camera Accessories

54 West 2 1 St St. New York City

NEWi

FILTER

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Photoeraphic Dept. H M -64 1 Chicago. Illinois

5 seconds per foot, 16 mm.
at 2^ seconds per foot. So
we have created a special
“frame-rnler” reproduced
on page 307 which can be
cut out and pasted on a
strip of cardboard. Use it
(with a yardstick if neces-
sary) for checking the
length of all scenes, and
synchronization will be
i perfect. Since all must be
j cut to exact time, you will
I find this a great exercise in
I editing, which will improve
j your later editing efforts.

Now for the most import-
I ant item . . . Synchroniza-
tion. We are working here
with two unvarying units,
the film and the phonograph
' record. The variables are
turntable and proj ector.
The former can be set at its
exact speed, 78 r.p.m., by

the use of a stroboscope
which any record shop can
supplv at low cost. It is
placed on the moving turn-
table and viewed under a
60-cycle light. When the
lines appear to stand still,
the turntable is “in sync.”
If you have a stroboscope
for checking the projector
speed at 16 frames ner sec-
ond, it will answer the pur-
pose. Otherwise, it is only
necessarv to load the com-
pleted film in the projector
and experiment two or
three times bv matching
film with music, adjusting
motor speed until projector
speed is in harmony with
turntable of record player,
and marking rheostat set-
ting for future use. Before
each showing, it will heln
to hasten “synchronization”

if both projector and turn- |
table are allowed to “warm j
up” for a few moments. 1
“Home Moviettes” open f
an exciting new field for i
amateurs who want some- *
thing unusual and enter- ;
taining for their hobby, yet |j
something not hopelessly ]
complicated or expensive. |
Coming issues will contain j
scenarios and music sugges- '
tions for many other “Home i
Moviettes.” :

Above all, the “Home ■
Moviettes” idea points the i
way to couple our films with -
the world’s greatest music,
to borrow from it moods j
and ideas that inspire !
greater creations than be- ij
fore. We can now imbue our ^
pictures with an emotional <
content which is not always i
possible without music. '

Ting.

Lack a iau^k!

• Continued from Page '273

while on the sand ; but soon
after you shed it in order
to take a dip in the surf,
a roving dog playfully toys
with it and is soon running
off carrying the robe be-
tween his teeth. When you
return to your umbrella on
the sand, the robe is miss-
ing. After vainly searching
for it, you adjust the um-
brella for the maximum
shade and then relax be-
neath it.

Your wife (or your girl
friend) will continue play-
ing in the surf, which will
enable you, or whomever
is to operate the camera,
to get in some lengthy
shots of her or perhaps of
others playing in the water
or romping on the beach.
But occasionally there’s a
cut back to yourself — asleep
beneath the umbrella. The
day is wearing on. Already
the sun is moving around.
Your legs are now exposed
to the blistering sun.

Cutting back to you later
we find more of your body
exposed to the sun. While
thus slumbering you are
being thoroughly broiled.
You roll over. There’s a
flash back to the wife still
playing in the breakers,
possibly ^-fiew closeups to
add interest, and then back
to you. The sun has moved
farther around in the sky.
Now you’re fully exposed
to it!

Soon your wife anpears
at the umbrella. Finding
you asleep, she quietly nicks
up her towel and belong-
ings and nroceeds to your
cottage. The finale is a shot
of you at dusk approaching
the camera as you trudge
nainfully back to your cot-
tage. You are done to a
turn, and aching at every
joint. (The effect of sun-
burn can be simulated by
coating the body with some
dark, easily removed sub-
stance such as tinted olive
or cocoanut oil.) As you
reach your cottage, spraw-
led before your door and
chewing playfully on your
tattered beach robe is the
dog who scampered away
with it while you were
bathing.

Here’s another short plot
for man and wife in which
other friends can be used.
Husband and wife are seat-
ed beneath their umbrella
on the sand. The husband
is addicted to flirtation and
casting admiring glances to-
ward the shapely girls pass-
ing by in attractive bath-
ing suits. Of course his
wife keeps a reproachful
eye on him. Thus annoyed,
the husband turns over and
takes a nap. His wife wants
to nan, too, but fearing to
trust her husband she takes
a stout cord, which was
used to tie up the lunch
basket, and ties one end
loosely about her husband’s

ankle and fastens the other
to the umbrella pole.

The attractive bathing
girls continue to pass along
the beach and the husband
soon awakens to cast flirta-
tious glances toward any
girls who chance his way.

Then one attractive miss
stops nearby to adjust her
bathing cap, casts a flirta-
tious glance toward the hus-
band which brings his
nrompt response. The hus-
band sits up abruptly, slicks
back his hair, and arising
stealthily so as not to
awaken his slumbering
wife, starts over toward the
girl. But the cord tied to
his leg snubs him into a
fall; the umbrella is pulled
over upon his wife ; and she
emerges from beneath it
with fire in her eyes. The
closing shot shows the hus-
band walking sheepishly
back toward the umbrella
as the bathing beauty in
the background laughs
boisterously.

While the continuity ideas
already given cover inci-
dents that might occur
within a day, a little imagi-
nation will enable one to
build them into gags and
story ideas that may be
used through the entire va-
cation’s filming. Other run-
ning gag ideas are those
which involve one person’s
aversion to water — you
know the coy kind who en-
ter the water a degree at

HOME MOVIES FOR JUNE

PAGE 303

n '

COLORFILM

INSIDE

OUTSIDE

With the PB Movie Kit for Color Film

$3.95 COMPLETE
1 PB Lens Shade and Filter Holder
1 PB Haze Filter (for Kodaohrome)

1 PB Conversion Filter (for converting Type A to
Daylight)

1 PB Filter Pouch

For 8 mm. Eastman, Bell &. Howell, Revere.
Keystone and others.

ALSO AVAILABLE

Polaroid Filter . . $4.75 Portrait Filter . . $0.75
Order from your nearest dealer or direct from:

1015 S. GRAND AVE..
LOS ANGELES, CALIF.

PONDER & BEST

Develop Your Otvn Films
WITH A FLEXOIV OUTFIT

Bakelite finish steel
tanks: hard rubber
film coil; assembly
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Also comes in 50 and
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REVERSAL PROC-
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1st dev., bleach, clear-
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— $1.65 per gal. kit.
BULK FILM — 8/8 mm. and 16 ram. fullv panchro-
matic. Weston 16-12 and 50-40 .... 400 ft. $12.60

Weston 8 for 16 ram. only 400 ft. 4.00

Write for Combination Price Offer on FLEXON,
Film, and Chemicals

FLEXON COMPANY

1910 Belmont Avenue Chicago, Illinois

Get Clear, Fine Quality OUTDOOR PICTURES

WITH 16 MM.

OUTDOOR or
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Cost includes machine processing,
spooling and mailing. California
buyers include sales tax.

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SOUTHGATE CALIFORNIA

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Eastman .... $19.95
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Write Us Your Requiroraonts
Custom Built Camera Accessories Co.
4124 Rawlins • Dallas, Texas

MOTION PICTURE SCREENS

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illustrated catalogue of photographic supplies.

WERRY... UNIONVILLE, N. Y.

^ Write 'I
W Us For '
I Photo
^Equipment

1003 FENNSYLVANIA AVI. N.W., WASHINGTON,

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Lorgest Stock of Comeros ond
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a time, finally retreating
before a wavelet or break-
er! This idea can be used
repeatedly — finally near the
end of the vacation, the
party gathers enough forti-
tude to go into the water
all the way, or may force-
fully be “ducked” by oth-
ers.

Then there’s always the
big handsome lifeguard an-
gle and the girl who goes
for him in a big way. He’s
handsome in his dark tan,
forever basking in the sun,
but never seen in the wa-
ter. The girl wishing to
gain his favor, feigns
drowning and when the life-
guard reluctantly comes to
her rescue, the tables are
turned and it is the girl
who rescues him!

And what about the kid-
dies? Well there are a lot
of cute things they do at
the beach which bring
laughs galore when shown
on a home movie screen.
The idea that makes for
success in filming these
shots is to use considerable
patience, stationing one’s
self at some distance so
their actions may be re-
corded unobtrusively ; and
if your camera’s equipped
with a telephoto lens, the
job will be that much easier.

Now on the cinematic
side, probably 75 per cent

o Continued from Page 278

of the cinefilmer’s shooting
their vacation movies at the
beach this summer will use
Kodachrome film. But those
who use panchromatic can
enhance the effect of their
shots by using a filter be-
fore their lens. A light or
medium yellow filter, or the
orange “G” filter will sub-
due the glare of the sand,
improve detail in the sha-
dows, darken the sky so
that clouds will stand out,
and given brilliance to surf
scenes.

A few words of caution,
too, regarding care of your
camera at the beach. What-
ever you do, don’t leave
your camera in the sun for
any length of time. The
excess heat will not only
damage the film emulsion
but thin the lubricant in
the camera, affecting its
further operation.

At the seashore, keep the
lens free from the oily mist
that will gather on the lens
from the fine spray coming
in off the breakers. Use a
piece of Kleenex or other
soft tissue to remove it.
And another potent danger
is sand. Don’t lay your cam-
era on the sand at any time,
and if you have a camera
case, return the camera to
it immiediately whenever it
is not in use.

detail than was possible by
any other method except
following them around the
track by automobile, which
of course is impractical.

It was after the multi-
camera experiments, con-
ducted during the closing
days of the 1940 season,
pi’oved the soundness of
Mackenzie’s idea, that he
took it to del Riccio. Del
Riccio suggested mounting
the cameras on the judge’s
binoculars, thus making
the recording on film auto-
matic with the official vis-
ual check of each race. But
when the ordinary 16 mm.
camera — even one of the
lightweight models — was
coupled to a binocular, it
was found too heavy to be
pi’actical.

Del Riccio set about to
design a special camera for
the job. In due time he
brought to the track a cam-
era weighing but four
pounds and most import-

ant, featuring a vibration-
less spring motor capable
of driving 50 feet of film at
uniform speed at one wind-
ing. A pilot registering pin
in the intermittent move-
ment, said to be the first
time this professional fea-
ture has been used in con-
struction of a cine camera,
is another innovation of the
binocular-camera.

Camera speeds range from
eight to sixty-four frames
per second, and change from
one to the other is facilit-
ated by shifting a control
at side of camera. It ac-
commodates all standard
size 16 mm. lenses such
as those used by Bell &
Howell and Victor 16 mm.
cameras.

For shooting the first to
the fifth or sixth races, the
camera is loaded with 16
mm. Kodachrome in stand-
ard Eastman cartridges.
Use of color film enables

To demonstrate
how results ob-
tained with the
G M Standard
Photoelectric Ex-
posure Meter
compare with
those given by
meters costing
much more, an
impartial test
was made by a
leading profes-
sional photogra-
pher.

Three pictures were made of
the same subject, using the
identical camera, light, film,
development and printing oper-
ations. Each exposure was
timed by a different meter;
one costing nearly three times
as much as a G M, another
costing over twice as much as
a G M Standard. Bcsulting
prints were so alike, experts
couldn’t see any difference. On
request, we will send certified
prints to anj'one for personal
examination. This test proves,
we believe, that the G M Stand-
ard is America’s greatest pho-
toelectric exposure meter value.

Scf it at your dealer s.

' G M LABORATORIES, Inc.

j 4229 N. Knox Ave. Chicago

WITH

NECK

CORD

STIinDflRD

PHOTOELECTRIC

EKPOSURE mETER

FILM PROTECTION

AGAINST '

CLIMATE- SCRATCHES -OIL and DIRT

THAT HITS THE SPOT

Better photo finishers offer VapOrate
protection for still negatives.

VAPORATE CO INC
130 W 46th St
New York City

BELL & HOWELL CO
1801 Larchmont
Chicago

716 No La Brea
Hollywood

NOW!

A High Quality
16mm Reversible

98‘

.98

Outdoor Film
100-ft. Roll

For Only

Rating Scheiner 1 8

A High Quality
8mm Reversible

Outdoor Film
25 ft. Double 8

For Only

Fast Service — Processing same day included.

Ask your dealer or send money direct.
Write for prices on developing and processing your
8mm and 16mm films — even if you bought them
elsewhere.

Visual Instruction Supply Corp.

j 1757 Broadway Brooklyn, N. Y.

I\eiv

CIXE
KIT

Only $6.00

4 FILTERS and DUAL-SNAP SHADE TO MEET
ALL MOVIE FILTER NEEDS — both Kodachrome
and Black and White.

The new Harrison CINEKIT contains a special Aero
Lock Ring, a Dual-Snap Aluminum Sunshade, and the
following de luxe Durallne Filters:* No. 4 Red (brings
out clouds against grey-blue iky). No. 4 Green (gives
detail in green foliage and grass). Ne. 4 G*Y (dark-
ens sky — gives contrast In snow scenes). No. C*4 (cor-
rects Indoor Color Film for daylight use). Case is of
durable 5-oz. Elkhlde. felt lined.

(*If desired, any filters specified will be substituted
for the above — more than 50 colors are available to
choose from.)

Send for Free Illustrated Folder Today
HARRISON & HARRISON, Optical Engineers
8351 Santa Monica Blvd. Hollywood, Calif.

PAGE 304

HOME MOVIES FOR JUNE

SUPERSLIDEFILE

Holds 250 Slides or 650
Readymounts
Unique design permits fil-
ing of slides according to
group, subject or number,
system being flexible enough
to adopt any method suit-
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printed index cards for all
pertinent data.

Each compartment holds 20
bound slides or 50 ready-
mounts, convenient for use
with automatic loaders.
COMPLETE Only $3.50

SUPER DE LUXE MODEL

Holds 350 slides or 850 readymounts, supplied
with record book for work in the field and easy
re'e -ence

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Mail Orders Promptly Filled

Magazine : ''SNAP SHOTS’' Free on Request

GEO.

MURPHY\

NC.

57 East 9th Street, New York City

Established 1878

Buy from Byron's, Washington

SAVE MONEY

on all MOVIE Equipment

s We carry a full stock of;
all Dationally advertised
movie cameras and equip-
ment. We don’t have ex-
pensive price catalogues,

. . . but whatever you need,
write us and we’ll quote
you the lowest prices.

One of the
Leading
Motion Picture
Producers in
the East

Dept. HMJ

BYRON'S, Inc.

625 1 5th Street Washington, D. C.

Fine grain REVERSIBLE semi-ortho OUTDOOR Film

Uspfl in Cin? Kodaks. Keystone. Victor, Revere, rilmo
and Univex. Also used for titles. Processing simplifled
bv ns« of our Prepared Powders. FREE instructions.

200ft v;,» $1.7 5 r.‘t ss

, oost-

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400 ft. 16mm GENERA in 400-ft. Reel Can, Dtnd. $4.25
Simplified Prooessinn Outfits inel. Prepared Po>'-ders
For 30 ft. single 8 $3.35, ptpd. : Phi. 8 & 16, $4.95.
Processing Powders; y. gal. Set. $1.25; 1 gal. Set. $1.85
Write for sample film, eireulars, and processing prices.
FROMADER GENERA CO., Davenport, Iowa

Kodachrome

MAPS(3(«,.feFINE TITLES

Geo. W. Colburn Laboratory

Special Motion Picture Printing

I I97A Merchandise Mart, Chicago

Six 8mm Emulsions!

FOR ALL DOUBLE 8mm AND
SINGLE 8mm CAMERAS
Your postal will bring our latest catalog
and a full description of our panchro-
matic and orthochromatic emulsions.
Prices start at 29y2C per spool (Univex),
50c per spool (dble. 8mm), less processing.

ESO-S PICTURES

“OUALITY 8mm SERVICE”

3945 Central Kansas City, Mo,

VITAF I LM

PROCESSING FLUID

Changes the characteristic tendency of films drying
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Ask your dealer or order direct.

R. D. HANISH COMPANY

93 East Longview Ave. Columbus, Ohio

MAKE YOUR OWN TtTLERr

For «l fYp.#s of tlfloi, close-up end copy
work. Coqxpjefe kit of finished perts —
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Assemble in 15 minutesl .Money Beck
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OwBoctlvf TWi Ciir4-“ Phctofraphy hy (yaar nan»)"-35e

'HOLLYWOOD MOVIE SUPPLY COMPAHY
kWO * T H HO LLYWO OO • CALIFORNIA

still greater check of de-
tail in the color of horses,
rider’s silks, etc., in such
instances where arm-band
or saddle numerals are not
clearly visible. For the sixth
and subsequent events, the
cameras are loaded with
super -speed panchromatic
film.

^0 knowledge of photog-
raphy is required of the
judges using the binocular-
cameras. They need only
focus their field glasses
upon the race, press the
camera starting lever with-
in easy finger reach, a^d
the camera records the
scene with the operator al-
most unconscious of it as
he follows with his glasses
the horses traveling through
the area assigned to him.
After each race, the judges
return to the officials’ quar-
ters in front of the grand-
stand to make the custom-
ary oral report and to de-
posit their cameras with the
head cameraman, who ad-
justs each camera for ex-
posure and focus for the
following race. Those cam-
eras in which film supply is
low receive a new cartridge,
and, as stated before, when
the diminishing light pre-
vailing at the close of the
day requires it, the car-
tridges of Kodachrome are
replaced with those of fast
panchromatic film.

Just before the next race
is to begin, the judges and
their binocular-cameras are
ferried to their respective
posts about the track,
shown in the drawing,
where they take their po-
sitions to film the race.

The sketch of the track
shows the field covered by
each judge. He shoots the
horses coming toward him,
as they pass him, and for
a short distance as they
gallop away. Thus the shots
of one camera overlap
those of the cameras on
either side. While one cam-
era is picking up the horses
approaching one judge’s
post, the camera situated
farther back on the track
at the left is filming them
as they are going away.
Should a foul or an acci-
dent occur, there would be
a complete motion picture
record of the event as seen
by two cameras trained
upon the incident from two
opposite points.

Not all eight cameras are
used in every race — only
during the running of one

mile or longer events. A
six furlong race, for ex-
ample, would call for use
of but six cameras. Then
just to get a bird’s eye view
of the complete event,
there’s another camera re-
cording the race from atop
the grandstand. Only one
judge is required to shoot
extra footage of each race
a mile or greater in length
— that is the mian assigned
to the %th post on the
clubhouse turn. He not
only records the horses
coming toward him at the
start of race and then going
away, but he picks them up
again — this time with a
telephoto lens mounted on
his camera — as the horses
thunder down the home
stretch and across the fin-
ish line.

The cameras are fitted
with lenses of different fo-
cal lengths, depending upon
their position at the track.
Cam.eras nearest the track,
such as those at the finish,
%th, half-mile, and Vsth
stands have regulation one-
inch lenses. Cameras used
at the other posts are fitted
with two-inch lenses with
the judge on the %^h stand
switching occasionally to a
three-inch lens as already
explained.

At the close of the day,
film cartridges are collect-
ed by the head cameraman
and delivered by snecial
messenger to the Holly-
wood laboratories of East-
man Kodak Company. Here
special equipment and per-
sonnel have been added, en-
abling them to return the

completely processed films
to Hollywood Park before
midnight the same day.
During the night, the films
are cut and edited, and
early the next morning
they are screened for
judges and officials of Hol-
lywood Park in the special
projection room provided
for the purpose at the club-
house. Here two projectors
are available so that when
necessary, a questionable
incident may be viewed on
two screens simultaneously
as picked up from two sep-
arate vantage points by the
binocular-cameras.

There is some speculation
that these pictures may be
shown to the public at the
track. There’s talk of set-
ting up a huge screen in a
darkened area beneath the
huge grandstand where the
entire card of races ran the
day before will be screened
each day prior to starting
of the first race. Thus the
“grandstand jockies’’ and
newspaper dopesters still
chafing under arguments
ensuing from yesterday’s
races, may settle their dis-
putes in a quiet pyeview of
the questioned event on the
screen.

Thus another interesting
use has been found for the
16 m^m. camera, only recent-
ly considered amateur
equipment. And it is easy
to visualize the use of this
same binocular-camera as
a medium for checking
other sporting events,
namely, baseball, football,
basketball, and hockey.

o Continued from Page 2£0

Lettering should be done in
India ink.

Now if the card is one of
any number of off-shades of
white and the lettering is a
grey-black instead of full
black, contrast between the
two will be lessened and
therefore will be recorded
accordingly on the film.
This does not mean that ti-
tle cards other than white
cannot be used successfully
with positive film. They can.
One favored card is that
with a subtle mottled design
used by many amateurs.
But where such cards are
used, further exacting cal-
culation must be made for
exposure. The developing

formula must be adjusted
to bring out the detail in
this less contrasty back-
ground.

One important factor so
frequently overlooked by
the amateur residing in the
city is the change in power
voltage that takes place at
different times during the
day. In spring and early
summer months, for exam-
ple, the hour between 6 and
7 P. M. is considered the
peak point in power con-
sumption. At that time
more houselights are burn-
ing, more electric stoves are
in operation ; and a greater
plague — men preparing for
a night out are using elec-

PAGE 305

home movies for JUNE

WIDE ANGLE LENS

ADAPTOR

In Focusing Mount

Fits IZVamm and 13mm lenses, convert-
ing them to wide angle lenses. Doubles size
of area photographed.

Corrected for color and fully guaranteed
in all respects. Price $21.00

California buyers please include sales tax.
Orders will be filled in the order in which
they are received.

MocVAN MFG. CO.

3829 El Cajon Blvd. San Diego, Calif.

CENTRAL CAMERA CO. Since 1899

Dept. F-9, 230 S. Wabash Ave., Chicago, III.

BOY, IS THIS GOOD!

Note . . .

G FILM BY RUSH AIR MAIL

Your film shipped within five minutes after order re-
ceived if you live over 200 miles from San Francisco.

WE PAY ALL POSTAGE

Look . . .

50'dble. QCc G FILM 100' « | 50

8 mm. (Clear as crystal) 16 mm. I

18 Scheiner— “It Always Gets the Picture”

25' Dble. 8 mm. SUPER G FILM, only ... 95c

(3 times the speed of G Film)

Full Panchromatic Anti-halo Base

Send for Free Copy : “The Hit From Hollywood”

MGM PHOTO SERVICE

1485 Oak Street San Francisco

Photographic Products

of Distinctive Merit . . .

MOTION PICTURE SCREEN
and ACCESSORIES CO., INC.
3S1 West 52nd St.. New York City

KNOW YOUR BIRDS

(

16 mm Color Film Showing Wild Bird Life

SERIES \ / SERIES ‘^'^mouse

^5.!! , bluebird ) ( chickadee

NO. 1 WOOD-THRUSH / V NO. 2 NUTHATCH

)

A maalertui new lechnique. Clear, brilliant natural colors and beaulilul closo
ups. Mr. Geo. B. Thorp. Pres. Audubon Society of Western Pa. says. "Hiflh
level of photographic artistry makes walchirsg these pictures a pure delight.’*
Write for complete information.

HEIDENKAMP NATURE PICTURES

SlMBOlIZf

your

CLUB- HOBBY
PROFESSION

WITH THIS LIFETIME COLD-
PLATED LAPEL EMBLEM.

MEN OR LADIES' CLASP.

Sl.OO each; 25 or more, 75c each

B & C EMBLEMS

10234 Bensley Ave. Chicago, 111.

trie razors ; and electric ice-
boxes, opened frequently
during preparation of the
evening meal are causing
their motors to work over-
time for an hour or two.

Thus, excessive consump-
tion of power taking place
at this time of day reduces
voltage considerably and
will cause any photofloods
being used during the pe-
riod to burn less brilliantly
than at some earlier or later
hour. If one has estab-
lished, by tests, an ex-
posure say for two photo-
floods at 7 P.M., it will not
be accurate for use at 11
P.M. The same would ap-
ply to exposures established
for the later hour. This is
important, of course, when
title making is to extend
over a period of several
hours during an evening or
perhaps over several eve-
nings. Unless this factor is
taken into consideration, ti-
tles made at different hours
or on separate days or eve-
nings will not be uniform
in contrast.

Another factor affecting
exposure is the condition of
the photofloods used. We
frequently hear of expos-
ures established for use of
say two No. 1 photofloods
set at a certain distance

from title card. In most
cases such exposure statis-
tics apply to use of fresh
photoflood lamps and net
successful results only when
new lamps are used. But
where old photofloods about
to expire are used with the
same exposure settings, dis-
appointment is sure to re-
sult. The average photoflood
lamp often burns beyond
the life specified by the
manufacturer, but the vol-
ume of light given off, while
appearing bright to the eye,
is greatly reduced in inten-
sity.

Frequently after reli-
giouslv following all advice
regarding contrast in title
cards, and the use of good
photofloods as alreadv dis-
cussed, an amateur will still
fail to get the results strict
attention to these factors
should bring. Occasionally,
but not frequently, the cam-
era is at fault in that it is
not turning at the correct
speed of 16 frames per sec-
ond. Obviously a slower or
faster speed will seriously
affect exposure, and this
will be more emphasized be-
cause of positive film with
its inherent contrasty and
limited - latitude character-
istics.

Next, but far from the

Movie of the Month

1940

JULY: "Song of the Soil." pro-
duced by E. C. Denny, Buffalo,
N.Y. A 16mm Kodachrome film
800 ft. in length.

AUGUST: "St. Margarets," pro-
duced by Gordon MacCormack,
Montreal, Canada. A 16mm Koda-
chrome film 400 ft. in length.

SEPTEMBER: "Angels Are Made
of Wood," produced by Herman
Bartel, New Rochelle, N. Y. An
8mm Kodachrome film 200 feet in
length. (Winner Lloyd Bacon Tro-
phy, 1940 Amateur Contest.)

OCTOBER: "Driftwood," pro-
duced by A. O. Jensen, Seattle,
Wash. An 8mm Kodachrome film
400 feet in length.

NOVEMBER: "Father's Time,"

produced by Raymond Fosholdt,
Long Beach, Calif. A 16mm pic-
ture, 400 feet in length.

DECEMBER: "Spokane and The
Inland Empire," produced by Bur-
ton Belknap, Spokane, Washington.
A 16mm Kodachrome picture, ap-
proximately 800 feet in length.

1941

JANUARY: "Three Wishes" pro-
duced by Earl Cochran, Colorado
Springs, Colorado. An 8mm Koda-
chrome picture, 125 feet in length.

FEBRUARY: "Happy Landing,"
produced by Mildred Caldwell,
Long Beach, Calif. An 8mm Koda-
chrome picture, approximately 400
feet in length.

MARCH: "Home Town," pro-

duced by West W. Champion,
Fresno, Calif. A 16mm picture,
1 600 feet in length.

APRIL: "Fledglings,” produced
by Dudley Porter, Beverly Hills,
Calif. An 8mm Kodachrome pic-
ture, 150 feet in length.

MAY: "A Pain in the Night,"
produced by Rev. Raymond G.
Heisel, Elmira, N. Y. An 8 mm.
Kodachrome picture, 125 feet in
length.

JUNE: "Tropical Ecstasy," pro-
duced by Dr. Roy L. Gerstenkorn,
Beverly Hills, Calif. A 16 mm. Ko-
dachrome production, 350 feet in
length.

Garmur

Cable

Release

Adaptor

for

GARMUR PRODUCTS

P. O. Box 6073 Metropolitan Station
Los Angeles, Calif.

Also; MATUS CAMERA SUPPLY CO.

5208 Wilshire Boulevard Los Angeles. Calif.

FREE

Home Processing Made Easy.
Write for Free Booklet on Sim-
ple Processing Instructions,
Plans, Formulae and Supplies.
BETTER BULK FILMS — Same price for 16mm or
8mm.

Rapid'X Pan Super. pan S‘^mi>ortho S^mi-ortho
Anti. halo Anti. halo Anti. halo Clear. base
100.80 24.16 12.4 12.4

100 ft. $ 3.60 $ 3.15 $1.30 $1.20

100 ft. 12.95 11.60 4.25 4.00

Above prires do not include processing.
Reversal Processing — .«ingle 8. Double 8 or 16mm —
mn ft.. 85c. 50 ft.. 65c. 25 ft.. 50c.

READY TO MIX PROCESSING POWDERS— Half
gallon size: 1st develoner: bleach; clearer; 2nd de-
veloper: h.vno. ALL FOR $1.30.

DEVELOPING RACKS— Hold 30 ft. of single 8.
double 8. or 16mm. Come with loading platform
and d»’vlng rack. $3.95.

Jll Orders Skipped Postpaid Except C. O. D.

CORONA FILM LABORATORIES

Znn East 34th St. B-nnkivn. N V

For EXCELLENT MOVIES
. . . Always Load with Onyx
24 Panchromatic Film

100 ft. 16mm $4.00

25 ft. 8/8mm 1.35

30 ft. Univex 90

Rating: Day 24 — Tung. 16

Reversal Free of Charge

Write for price list of all types and grades
of film. Processing chemicals for Home use.

KENWOOD FILMS

818 East 47th St. Chicago. III.

Free 1941 Thalhammer Catalog

X 24 pages chock full of interesting
/|A facts . . . Pictures of Thalhammer
Cm] tripods and accessories; this cata-
log can be yours by just writing
the THALHAMMER CO., 4663 San
Fernando Road, Glendale, Calif.

Why use anything else when

TITLES BY PARK CIIVE

cost no more than ordinary titles.
Catalog Free on Request

PARK CINE LABORATORY

120 West 41 St Street New York City

RepawTS!®?

SERVICE

30 3- Su

PAGE 306

HOME MOVIES FOR JUNE i

Nearly 10,000
Beautiful Art
Backgrounds.

Family. Sports. Travel. Scenic.
Presentations. Holidays ... every
subject. All modern type faces,
band lettering, animation ... no
extra charge. Really professional
work as supplied to thousands of
theatres. Quality titles at lowest
cost.

Write for

FREE BOOKLET

1327 S. WABASH AVE.
CHICAGO ILLINOIS

MOVIE FILM 8 8 & 16mm
AT LOWER PRICES!

Order Direct from this Ad!

It's thrifty to SAVE MONEY on your movie film,
when you can do so without sacrificing quality!
ESSCO No. 12 gives sharp, brilliant results. Wide
latitude, non-halation, ortho film . . . speed raf-
ing, Weston 12.

ESSCO

KSSCO No. 8, Weston 8 semi-ortho
ESSCO No. 24, extra fast, Weston

24-16, panchromatic, fine grain

ExSSCO No. 100, Pan, non-halo.

Weston 100 Tungsten. Not for use

in bright daylight

Fast processing and return postage
daylight loading spool, in metal I
ready for use in all standard cameras. 24-hour processing.
ORDER DIRECT FROM THIS AD. $1.00 Deposit Re-
quired on C. 0. D. Orders.

, 16mm

16mm

Dbl.

8mm

100 ft.

50 ft.

25 ft.

1 39

98'

,.79

1.19

2*69

2-49

1 39

2-98

2*69

1 69

included

1. Each

roll on

)ox and

strong

carton,

ESSCO

FILM PRODUCTS

Dept. HM-6, 61 17 S. Campbell Ave.
CHICAGO. ILL.

THRIFTY Jit FILM

Make Better Pictures at Less Cost

TH Rl FT Y ORTHOTYPE, for outdoor shooting . . .

non-halation, fine grain, per

l(m-fnot roll ^1

THRIFTY PANCHROMATIC— 75

Per 100 -foot roll

THRIFTY SUPER-PANCHROMATIC 25

Per 100-foot roll 4'^*

California Buyers include Sales Tax

THRIFTY FILMS

Drawer 98

Wafts Station Los Angeles, Calif.

Be Professional! Use

Ti/edcoi

FADETTE & FADE-O-MASK

Produces a rectangular fade-in or
out ot any speed. Combination comes
complete with filter holder ty yc
and 8 popular masks. / •/ J

See your dealer or write for folder

WESTERN MOVIE SUPPLY CO., 2S4 Sutter St., San Francisco

least important is the de-
veloper and developing pro-
cedure used in finishing the
title film. There are many
developers on the market
suitable for development of
positive film. Each has its
own characteristics and will
give excellent contrast re-
sults if properly handled.
And here is where many of
the if, ands, and huts, arise
in attempting to place the
blame for poor title making
results. If ordinary tap wa-
ter is used instead of dis-
tilled water; if over-age or
off-brand chemicals or so-
lutions are used ; if one’s
darkroom thermometer is
off a degree or two — any
one or all of these things
will affect the result. It is
a rare instance, indeed,
where all errors add up in
the same direction. In many
instances, fortunately, they
tend to balance each other
but not always to the extent
that a “givezi” stop can be
always relied upon as “cor-
rect” exposure.

The most successful posi-
tive film titles are made
only after some time is
spent in exposing and de-
veloping test strips. This is
the one dependable method
that will insure good re-
sults; the only procedure
that can furnish the correct
answer to the question;
“What exposure should I
use?”

Select one brand and
grade of positive film and
stick to it. Choose a good
contrast developer and then
establish by test the devel-
oping time and temperature
that give the desired re-
sults. Place photofloods in
reflectors and set them up
permanently so they will
always be used at the same
distance from title board.
Thus with these important
details definitely estab-
lished, reliable tests may be
made and the results can
be depended upon to net
uniform contrast in all fu-
ture title making.

8 ENLARGED J 0 REDUCED A

TO I 0 TO 0

Black and White and Kodachrome

GEO.W. COLBURN LABORATORY

special Motion Picture Printing

1197-A MERCHANDISE MART
CHICAGO

RAVEX SCREENS

For Theater Quality Projection

Raven Screens are inevitably selected by fine
cinematographers and theaters everywhere.
There’s a Raven Screen to fill every need.
Write for new catalog to Dept. 6-HM.

RAVEN SCREEN CORP.

3 14 East 35th Street New York City

^xpepimeniai

^lAJopLdliop

• Continued from Page 287

be made in one’s garage
workshop. As pictured here,
legs may_be made in two
sections of light pine strips.
The lower section “A” slides
upon the upper member “B”
and is held in place by two
retaining strips (“C”) cut

from tin or other light met-
al. A thumb screw “D” in-
serted into a hole drilled in
leg-member “A” serves to
fix legs in position when ad-
justed for proper length.

The leg members are at-
tached to the head “E” with
window shade brackets “F,”
two of which are used for
anchoring each leg.

The tripod head is made
of 1" material. A hole drilled
in the center and fitted with
a i/i," No. 20 stove bolt serves
to hold tilt head to tripod.
This tilt head may be con-
structed from two pieces of

pine as shown and joined to- I
gether with a stove bolt fit- I
ted with a wing nut for ad- \
justment. Head of the tri- i
pod head bolt is countersunk ,
in section “G” as shown. "
Another 14" No. 20 stove i
bolt is fitted into member ■)
“H” and the square head '
countersunk into a square |
hole to prevent turning.
This serves as connection j
for camera. A l/i," rod, 12"
long and fitted with a wood- ■
en file handle, completes the ;
job when attached to mem- 1
ber “H” as shown.

— Vance L, Bronson. !

FILTER FACTORS FOR POPULAR 8MM AND I6MM
REVERSAL CINE FILMS

Filter

K-1

K-2

K-3

Aero 1

Aero 2

23-A

Light

Medium

FILM

De-

Light

Medium

Dark

Yellow-

Light

scription:

Yellow

Green

Orange

Red

Cine Kodak “8”

Daylight

Mazda

Cine Kodak “8” Super X

Davlight

Mazda

Cine Kodak “8” Safety. . . .

Davlight

1.5

1 5

2.5

Mazda

1 5

1 ,5

1.5

Cine Kodak “8” Super X. . .

Daylight

Mazda

Cine Kodak "8” Super XX

Daylight

Mazda

Agfa 16ram Pienachrome. . .

Daylight

Mazda

Agfa 16mm Panchromatic. .

Daylight

Mazda

1 .5

Agfa 16mra Triple “S” Pan

Davlight

1.5

1 2

Mazda

1.2

1.5

Agfa 16mm Hypan

Daylight

Mazda

1.5

1 2

1.5

Agfa 16mm Twin-8 Hvpan.

Davlight

1.5

1 .5

Mazda

1.2

1 2

Gevaert Panchro Super. . . ,

Daylight

1 .4

2.8

Mazda

1 .4

Gevaert Panchro Microgran

Daylight

2 8

2.8

2 8

Mazda

Gevaert Orthochromatic

Daylight

11.

Mazda

1.4

Dupont Regular Pan

Daylight

2 5

3.2

6 3

Mazda

Note: All figures are approximate. Figures such as 2.2

may be considered as 2,

and 1.25

as 1.50

(or and etc.

FILTER FACTOR COMPENSATOR

Normal

Exposure

FILTER FACTOR NUMBERS

Filter

1 5

2 5

10.

12.

l: 2 8

2.3

EXPOSURE WITH FILTER

3 2

2.8

2.3

2.2

3.2

2.8

2.5

2.3

4 5

3.2

2.8

2.3

2.2

5 6

4 5

3.5

2.8

2.5

2.3

6 3

5 6

4.5

4.3

3.2

2 8

2.3

2.2

6.3

5.6

5.1

4.5

3.5

3.2

2.8

2.5

2.3

9 1

6.3

5.9

5.6

4.5

4 3

3.2

2.8

11 3

9.1

7.2

6.3

5.6

5.1

4.5

3.5

3.2

12 5

11.3

9.1

8.5

6.3

5.9

5.6

4.5

4.3

12.5

11.3

10.

9.1

7.2

6.3

5.6

4.1

4.5

18.

16.

14.

12.5

11.5

10.

9.1

7.2

6.3

32.

25.

22.

20.

18.

16.

14.

12.5

11.3

10.

9.1

PAGE 307

Backgrounds

“Childfien
On Vafiade'

PAGE 308

HOME MOVIES FOR JUNE

CLoniMED • BDVERmmi;

• Ten cents per word; minimum charge, $2.00 cash with order. Closing date, tenth
of preceding month. • HOME MOVIES does not guarantee goods advertised.
• Send ads to 6060 Sunset Boulevard, Hollywood, California.

EQUIPMENT FOR SALE FILM RELEASES ”

EQUIPMENT FOR SALE

• BASS SAYS: Rare bargains for June!

USED CAMERAS

16 mm. Cine Kodak Model E, i' :3.5 lens, $29.50
16 mm. Stewarl-Warner, telescopic finder, 1"
F:1.5 Wollensak, $32.50.

I6mm. Filmo 70A. Cooke F:3.5 lens and case,
$37.50.

16 mm. Cine Kodak B with Kodak F : 1 .9 lens,
$39.50.

16 mm. Simplex Magazine, Kodak F : 1 .9 lens,
$47.50.

16 mm. Victor 4 Turret, 20 mm. F:3.5, I"
7:1.5, 2" telephoto, $117.50.

16 mm. Filmo 70D, with 15 mm. F:2.7, \"
F:1.5 and 3" F:3.5 Wollensak lenses and
case, $ 1 77.50.

16 mm. Movikon, coupled rangefinder, Sonnar
F;1.4 lens and case, $235.00.

USED PROJECTORS
16 mm. Keystone A-72, 300-watt, $27.50.

16 mm. Bell & Howell 57A, 200-watt, 50-volt,
$37.50.

16 mm. Ampro A. 400-watt, case, $44.50.

16 mm. Filmo Master, 750-watt lamp, case,
$95.00.

16 mm. Bell & Howell Diplomat, 750-watt, with
case, $ I 25.00.

16 mm. Bell & Howell 1 29C, 1600-foot, 750-
w'att lamp, case. $137.50.

Headquarters for AURICON RECORDERS. New
Auricon Synchronous Motor for Cine Special,
$125.00.

Don’t trade! Write Bass first — everything known
in good Cine equipment, silent or sound. Send
for 84-paee Cine Catalog, most complete pub-
lished. It’s free.

BASS CAMERA COMPANY
Dept. HC. 179 W. Madison St. Chicago. Illinois

• WIDE ANGLE lenses for Keystone or Bell
& Howell with viewfinder. $21.50. Eastman
Model EE 750-watt Kodascope, factory recondi-
tioned. $42.50. 8 mm. Bolex. ^-in. F-I.5 lens
and D/i-in. F-3.5 telephoto lens, carrving case,
list price $337.50. $195 00. Revere Turret, as
new. 2.5 lens. $45.00. Walnut case Bell & How-
ell “Utilitv.” as new. new type sprockets and
takeup. still and reverse features, original list
price $399,00. priced at $289.50. Bell & Howell
129 projector. 1600-foot reel, list price $200.00.
our price $125 00. 750-watt Bell & Howell ST,
list price $139.00. our price $69.00 .

TOP ALLOWANCES

$39.00 allowance for vour Model 50 on new
Ampro at $98.00, on new Bell & Howell at
$112.50 with 400-ft. reels. $60.00 allowance for
your Model 70 on the new 400-ft. Bell & How-
ell at $1 12.50 and $49.75 for your Keystone R-8
on the new Ampro at $98.00. $28.50 for your
Mod#*' 20 F-3.5 r>r> rtpw Perfpx Magazine Load-
ing Camera at $59.50. $139.00 allowance for
your Bell & Howell 16 mm. Filmo-Master on
any new Eastman or Bell & Howell sound ma-
chine. Full list price for your Ea.stman. Bell &
Howell. Revere or Keystone 8 mm. equipment
on new 8 mm. Bolex.

TRADE OFFER

bhotguns. target pistols, binoculars accepted in
trade on cameras, motion picture camera. RCA
or Philco radios. Most liberal traders in the
country, established in 1914.

REPAIR SERVICE

Complete repair service on all makes shutters,
cameras, motion picture cameras and projectors.
All work guaranteed.

NATIONAL CAMERA EXCHANGE
1 1 South Fifth Street
Minneapolis, Minnesota

• CLOSING OUT ‘ 16 MM. CAMERAS
All Cameras practically new and complete

with case.

I — American Bolex $145.00

1 — Victor Model No. 5 84.95

I — Bell & Howell Model No. 70-D. 73.50

I — Victor Model No. 4 57.50

STANDARD FOTO SUPPLY CO.. 124 East
Washington St., Greensboro, N. C.

• SALE — Revere 88 f/3.5 Camera, practically
new, $27.50. 16 mm. Keystone A-75 projector,
case, perfect, $39.00. G-M Exposure Meter,
case, new, $8.50. Argus M camera, new. $5.25.
No lists. Write wants. PHOTOSERVE, Box 62,
Collinsville, III.

• NEW or used Bolex or Keystone 8 and 16
mm. outfits, extra lenses, filters, other movie
equipment. GLENN MISHLER. Warren, Ohio.

• CLEARANCE Sale — 8-16 mm. movie screens,
cases, up to 50% discount. Cameras, projectors,
library films. NO-WAT-KA, 255 Main, Passaic,

• BELL & Howell 8 sportster with filters, case,

strap, $45.00, 7E 405 W. 23rd St.. New York
City.

• 8 MM. Bell & Howell turret movie with case.
Used only twice. F/2.5 lens. $83.50 with case.
RUSSELL MILLS. 803 Nixon Ave.. Reno. Nev.

• 16 MM. Filmo 75. like new, takes needle
sharp pictures, Cooke f/3.5 lens, case. $28.00.
Write ED HUTH. 1 20 Fuller Ave.. Buffalo N.Y.

• PAWNBROKERS since 1858. Snecializing lib-
eral loans on cameras anywhere in Unlr-^d States.
Free information ->nd appraisal. H. STERN, 872
Sixth Ave., New York.

RT, Home Movies Magazine, 6060 Sunset Blvd.,
FloUvwood. Calif.

ACCESSORIES

• AUXILIARY Lens Kits — six supplementary

lenses of 16", 18", 20", 24", 32" and 40"
focal lengths. Can be used on all titlers

which provide for Interchange of lenses. Also
ideal for general close-up photography. Com-
plete kit. $3.00. Separate lenses, 60c each.
Also available in 6", 8". and 10" focal
lengths for ultra-close-up work. HOLLYWOOD
CINE PRODUCTS CO.. 322 1 So. Figueroa St.,
Los Angeles, Calif.

• BULK film, 8 mm. and 16 mm. All types,
50.000 foot stock. Full line of Bolex, Keystone,
Excel, Univex cameras, projectors, and acces-
sories. I'ull Castle film library. All orders post-
paid. Write for full information. PHOTOCRAFT,
Box 1739, Cleveland. Ohio.

• ADULT FILMS. 8-16 mm. (not arts). Over
100 subjects! Lists, lens cloth, 10c. No post
cards answered. JENKINS, 392, Elmira, N. Y.

• LATEST 8-16 mm. War, Comedy, Travel, Un-
usual Subjects. Send 10c for sample and lists.
A personal service. RIO. 413-H Elmira, N.Y.

• NEW exclusive “IT” films of glamorous

Hollywood beauties. Sample 10c. Obtainable only
from MERCURY PICTURES, 1157 N. McCad-
den PL, Hollywood, Calif.

• EXCHANGE 8-16 mm. film subjects, 75c

reel. Films rented everywhere. Sound programs.
Free list. ASHA FILMS, 785 St. Johns. Brook-
lyn^

• 16 MM., 8 mm. bought, sold, exchanged,
rented. New 8 mm. 200 ft. comedies. $3 25.
Bargains, new and used movie equipment. Free
rental c'.taloe. TIMES SOUARE 6'AMERA EX-
CHANGE, 131 West 42nd St.. New York City.

• 8 MM. FILMS! C'mle Official— 180 ft. new'
$5.50. Used, $3.85. Trade-in aOowanc««. Ex-
cellent pxrhange services. RIEDEL FILMS,
Dept. HM-641' 2221 W. 67th St.. Cleveland,
Ohio.

FILM RELEASES

• SOUND and Silent Films exchanged, bought,
sold, rented. Bargains always. New Free lists.
FRANK LANE, 5 Little Bldg., Boston, Mass.

• HOLLYWOOD productions galore! Hun-
dreds to choose from! Bulk film. Bargain lists
yours for the asking. ERWINE’S CINE
LABORATORIES. Allentown. Pa.

FILMS

• SPECIAL! 25' 8/8 mm. film, V/eston 12,
non-halation, daylight loading, including proc-
es.sing, 85c. RITTER FILM SERVICE, 629
Lyman Ave., Oak Park, III.

• IMPERIAL FILM — daylight loading, ortho-
chromatic safety film, including processing —
16 mm. 100 ft. $1.95. Double 8, 8 mm., 25 ft.
98c. CINE FILM MART, 110 West 34th St.,
N. Y. C.

• EYE Efco Film once on your screen and
you’ll use it always! Quality first. Write EFCO
FILMS, Millville, N. J., or 241 Greenleaf Ave.,
Wilmette, 111.

• 8 MM. FILMS FOR SALE. Popeye, 50 feet,
$1.19; brand new comedies, 200 feet, $3.25.
Guaranteed perfect. Write for catalog. ABBE
FILMS, 1265-H Broadway, New York City.

TITLES

• HAND lettered 8 and 16 mm. titles; mod-
ernistic backgrounds if desired. Write for prices
and sample End title. RUGER, 34-36 Court St.,
Binghamton, N. Y.

• TITLE Outfits — 8 or 16 mm.— 300 letters,
25 backgrounds. 25 cartoons. All sizes! LEONE,
3 55 East 187 St., N. Y. C.

PHOTO-CINE LINES WANTED

• WELL connected selling organization can pro-
duce attractive volume for manufacturers of
items suitable for retail, mail-order photographic
outlets. Equipment, supplies, accessories, chemi-
cals, specialties. Intensive coverage New York,
New Jersey and 100 mile radius. NATIONAL
CINE-PHOTO SALES CO., 68 West 48th St.,
New York.

SOUND EQUIPMENT

PROCESSING SERVICE

• MOTION picture processing, 100' 16 mm.,
75c; 50' 16 mm.. 50c: 25' 8/8 mm., 35c; 25'
8 mm., 25c. RITTER FILM SERVICE. 629
Lyman Ave., Oak Park, III.

• GUARANTEED 8 mm., 16 mm., 24-hour re-
versal. processing. ESO-S, 3945 Central. Kansas
City, Mo.

WANTED

• WANTED — 15 mm. f/1.5 Hugo Meyer. Also
6 in. f/4.5 Taylor Hobson or f/3.5 Dollmeyer
for Bell & Howell. C mount, 16 mm. No dealers.
Cash. DAVID ISRAEL, 1148 Griswold St., De-
troit, Mich.

MISCELLANEOUS

• BACK ISSUES — Home Movies magazine.
1940 and 1941 numbers available. Some num-
bers limited in quantity. 25c per copy. HOME
MOVIES. 6060 Sunset Blvd., Hollywood. Calif.

BOOKS

• Are you a “beginner” in the ranks of ama-
teur movie makers? Would you like to know
how to use your camera to the very best advan-
tage. yet avoid the mistakes and wasted film
that so often results from lack of knowledge of
fundamentals of cine camera operation? Then
order a copy of “How to Use a Movie Camera.”
Just 50c, and well worth it.

VER HALEN PUBLICATIONS
6060 Sunset Blvd, • Hollywood. Calif.

smimi twAiDs

go to the winners in HOME MOVIES” 1941 Annual Amateur Contest this year!
Four separate classifications, plus six achievement divisions, make this the
most attractive contest ever held for movie amateurs. The contest is now in
lull swing! Entries are being received daily. But there is still time for you to
make and enter your picture. Contest closes September 30th!

GRAIVD PRIZE — for the Rest Picture

The Lloyd Bacon Trophy, sponsored by Lloyd Bacon, Warner Brothers-
First National Pictures director. And in addition, the First Award in the
film's respective division.

SCENARIO FILMS

First Award— Dual Turntables.
Second Award — Electric Exposure
Meter.

Third Award — Tripod.

FAMILY FILMS

First Award — Dual Turntables.
Second Award — Electric Exposure
Meter.

Third Award — Tripod.

DOCUMENTARY

FILMS

First Award — Dual Turntables.

Electric Exposure

Third Award — Tripod.

Second Award

Meter.

SCHOOL-MADE FILMS

Award — Handsome engraved trophy.

ACHIEVEMENT AWARDS

Photography — For the best camera work, 8 mm. or 16 mm. — engraved
trophy.

Editing — For best editing of contest picture — engraved trophy.

Titling — For best titling of contest picture — engraved trophy.

Sound — For best sound, musical, or commentary recording for a contest
picture — engraved trophy.

Technical Achievement — For best contribution during year to Experi-
mental Cine Workshop or best technical accomplishment in producing
a contest picture — engraved trophy.

Club Achievement — For most outstanding accomplishment during year
by amateur cine club — engraved gavel.

HOME MOVIES

HOLLYWOOD'S MAGAZINE FOR THE AMATEUR

Magazine cine-kodak eight is a
good deal more than a fine, ca-
pable little camera. It is the basis of a
new kind of 8 mm. movie making. It
brings new freedom; it vastly enlarges
the scope of 8 mm. movies.

Load or change
films swiftly,
easily.

Shift to an
sory lens quickly

C o m b i n a t i o
case for camera
and accessories.

Model 90, with 13 mm
f/1.9 lens, $95.

FIRSh as its name indicates, it is a magazine-loading
camera. Load it in three seconds; or change from one
type of film to another in less than double that time.

SECOND^ it offers you a choice of four useful camera
speeds. The regular model (Model 90) has frame-per-
second speeds of 16, 24, 32, and — for true ''slow motion"
effects — 64. The new Model 90-A (otherwise identical)
offers speeds of 8, 16, 24, and 32 f.p.s.

THIRD, it may be fitted with any of seven accessory
lenses, ranging from a 9 mm. wide-angle lens to a
76 mm. (3 inch) telephoto. And the enclosed view finder
is'easily, accurately adapted to give you the field for each.
The standard lens is the Kodak Anastigmat 13 mm. /;1.9.

FOURTH, it may be fitted with other supplementary
lenses and lens extension tubes for extremely narrow
field work. And there's an accessory Focusing Finder
with which accurate focus can be determined with any
of the usable lenses.

FIFTH, there are cases available which carry not only
the camera but a variety of the accessories which
advanced movie makers require.

And to realize the full quality and beauty of movies
made with the Magazine Eight, there's the Kodascope
Eight-70.

Look at a Magazine Cine-Kodak Eight at your dealer's.
Be critical about it. We think you'll like it.

iaK iaffisa

Get Of?e of These SF//mo S's

•,V>r t/V *A..- *''»•'.•-»♦*•■

!:;il li MllAkilMitol > lilitj

FILMO "COMPANION" 8

FILMO "SPORTSTER" 8

FILMO TURRET 8

Palm-size; weighs only 24 ounces. Film, color
or black-and-white, drops into place — no
sprockets to thread. Operates at 8, 16, 24,
and 32 frames per second. Has single-frame
control for animated cartoons. Standard 12V2
mm. F 3.5 lens is instantly interchangeable with
extra speed and telephoto lenses, for which
matching viewfinder masks are provided. Built-
in exposure calculator covers every outdoor
photographic condition. B&H pre- $/|Q50
cision construction throughout. Only “v

As small and light as the "Companion,”
"Sportster” offers the same advantages plus the
following important features. Operating speeds
are I6, 32, 48, and 64 (slow motion), with
single-frame exposure control, too, of course.
The lens is the fine Taylor-Hobson 12V2 mm.
F 2.5, twice as fast as an F 3.5. The film footage
indicator is automatically rather than manually
reset. Streamlined housing; colorful, embossed
exposure calculator. Price recently $CQ50
reduced to Uw

Brings complete, instant readiness for all pic-
ture opportunities. The turret head mounts
three lenses and their matching viewfinder
objectives, so that the finder is always matched,
automatically, to the lens you’re using. Has
four speeds including slow motion, single-
frame control, positive-type finder, and auto-
matically reset film footage dial. New low price
includes one lens — the fine, fast Taylor-

Hobson F 2.5. Now only

Or, with critical focuser, $126. xUv

FOR SUPERB PROJECTION AND FULL FILM PROTECTION

Use a Filmo 8mm. Projector

Now, AS LITTLE AS $99.50 buys a Filmo
8mm. Projector, precision-made by Bell
& Howell to show 8mm. films at their best
and to give your irreplaceable films the
complete protection so essential to their
permanence. Camera-matched mechanism

insures rock-steady pictures. For this new
low price you get the famous Filmo-Master
8mm. Projector with 500-watt lamp and
200-foot film capacity, previously sold at
$118. It’s complete with fast F 1.6 lens,
lamp, 200-foot reel, and carrying case.

FILMO-MASTER “400” (left) — a new 8nim. projector
that takes 400-/oot reels for uninterrupted programs as
long as 33 minutes! Has all the superb design and con-
struction of the original Filmo 8mm. Projector (above).
Price, complete and including carrying case,

BELL & HOWELL COMPANY
182 5 Larchmont Ave., Chicago, 111.

Please send free 1 6-page booklet giving com-
plete information about Filmo 8mm. Cameras
and Projectors.

Price 25c

YEARLY SUBSCRIPTION, $2.00

copyrtg

Harold M. Lamber\

Jiilv • 1941

URGES! CIRCUUTION OF ANY AMATFUR MOVIF MAGAZINE!

If.

U.-C H..:

Old Time Movies!

Theatres from coast to coast are reviving the best of old time silent movies. Now owners of home movie projectors
con screen movies of some of the best comedies of the silent picture era. The five described here are still tops
wherever "revival" shows are screened. Add them to your library today!

200 Ft. 16mm.- $5-00 + 100 Ft. 8mm-S2 00

Billy Dooley In

"CAMPUS CUTIES"

Billy Dooley undertakes to retrieve the ad-
miral's uniform that has been stolen by one
of the girls at a finishing school. When he
mistakes some of the school principal's cloth-
ing for the uniform he complicates matters
for himself — but he gets the uniform.

Jimmy Adams in

"HOLY MACKEREL"

Jimmy's rich uncle expects to leave his ani-
mals with the zoo and his automobile with
Jimmy while he takes a trip to China, but
Jimmy receives an elephant and a flock of
seals, while the car goes to the zoo. There
seems no end to Jimmy's troubles until the
mistake is finally discovered.

Bobby Vernon in

"HOT SPARKS"

Bobby receives a "legacy" from his uncle,
charges collect which his landlord pays hop-
ing to get his back rent. When he finds it
is only a wooden cigar store Indian he throws
Bobby out, only to discover an antique dealer
willing to pay a fortune for it. Bobby hav-
ing discovered the same good news is hot
on his trail — then the fun begins for Bobby.

Billy Dooley in

"ROW, SAILOR, ROW!"

Billy Dooley, in love with the Captain's
daughter, takes her a dog as a present. Re-
fused admittance at her exclusive hotel be-
cause of the dog, he enters her apartment
through a fire escape. Billy and Doggie
have been eating cream-puffs, which suggest
"mad dog" to the frightened onlookers.

Billy Dooley in

"WATER BUGS"

Billy, a sailor in the navy, goes on shore
leave and is "shanghaied" by a hard-boiled
seaman. A mutiny and the captain's daugh-
i’er mean both action and romance for Billy.

In The Interest of Defense!

"FIRST FLIGHT"

The newest Hollywood Home Movie of a subject of interest to all. Pictures a
cub flyer's instructions prior to his first solo hop. Replete with informative titles,
the picture takes you into the air, then shows how airplane controls are used
to maneuver the craft in take-offs and landing as well as in flight. A real
''must'' for every home movie library!

Available 400 feet 16 mm. Silent only . . . $12.00

Ask Y our D e ale r to Screen These Movies for Y o til

SEND FOR FREE CATALOG
OF 8mm. AND 16mm. FILMS

HOLLYWOOD FILM ENTERPRISES, inc

6060 SUNSET BOULEVARD

HOLLYWOOD, CALIF.

ADVISORY EDITORS

IR. A. K. BAUMGARDNER

Peoria Cinema Club

•:TER BEZEK

Chicago Cinema Club

JAMES BIALSON

Amateur Motion Picture Club of St. Louis

MOSS BROWN

Dallas Cinema Club

liEORGE BURNWOOD

The 8-16 Movie Club, Philadelphia, Pa.

Ilaude w. a. cadarette

Los Angeles 8mm Club

EMERSON CLYMA

Detroit Society of Cinematographers

iJSSELL A. DIXON

Pittsburgh Amateur Cinema Club

RIL DVORAK

Suburban Amateur Movie Club

liRTHUR E. GIBBS

Portland Cine Club

AY A. HOOK

Seattle 8.'nm Club

ILFRED F. KAUFMAN

Indianapolis Amateur Movie Club

E. NESTELL

Cinemen Club

lARCISSE A. PELLETIER

Toronto Amateur Movie Club

ILBERT B. PETERSON

Metropolitan Cine Club

lOME RIEBETH

Minneapolis Cine Club

THEO. ROTH

Sherman Clay Movie Club

. O. ROUNTREE

Bey Empire 8mm Movie Club

PAUL SNYDER

Norfolk Amateur Movie Club

!£ED E. SNYDER

Des Moines Y.M.C.A. Movie Club

11. F. SISSEL

Austin Movie Club

I’R. C. ENION SMITH

^ Metro Movie Club of Chicago

**0"^ Second-Class Matter. May 4. 1938 at
le Postofiiee at Los Angelas, Calif., under the Act
of March 3, 1879.

ubs^iption rates: U. S. $2.00 par year. Canada
nd ^reign Countries. $3.00 par year. Single copies
Foreign single copies 3Sc. Copy-
^7 ^er Haten Publications. Advertising
rates on application.

JUi -7 :9ul

it A study in composition. There's more on
the subject on page 328.

, . />ome —

MOVIES

Reg. U. S. Pat. OH.

Copyright 1941 by Ver Helen Publications. No part of
magazine may be reprinted without specific permission.
Member Audit Bureau of Circulation

CONTENTS FOR JULY, 1941

it’s new to me — By Cmehug Shopper 314

FILM DOCUMENTARY OF THE SEASONS — By Dr. Herbert \V. Kuhm 319
MAP INSERTS ADD INTEREST TO TRAVEL FILMS —

By George W. Cushman 320
A KODACHROME QUEST FOR THE QUETZAL — By Victor W. vonHagen 321
BURLESQUING THE HOME-TOWN TRAVELOGUE — By. S. T. Van Dyler 322

FULL PAGE TITLE BACKGROUND — By Dr. Carlyle Miller 323

MOVIE OF THE MONTH — WITH SOUND — By J. H. Schoen 324

STROBOSCOPE “SYNCS” BOTH PROJECTOR AND TURNTABLES —

By William J. Bornmann 325

REACTION SHOTS KEEP YOUR MOVIE “MOVING” —

By Stanley E. Andrews 326

COMPOSITION TIPS FOR SUMMER FILMING

By Dr. A .K. Baumgardner 328
REVIEWS OF THREE INTERESTING AMATEUR FILMS — By The Editors 329
DOCUMENTARY FILM FEATURE OF R.4DIO BROADCAST SHOWS

By Curtis Randall 330

WHAT IS A DOCUMENTARY FiLMi* — By George W. Cushman 331

EXPERIMENTAL CINE WORKSHOP 332

FILTER FACTOR COMPENSATOR 338

WITH ADVANCED CINEFILMERS 339

THE READER SPEAKS 341

EMULSION RATINGS FOR 8MM AND 16MM FILMS 342

TITLE TROUBLES — By George W. Cushman 343

INFORMATION PLEASE 345

FILTER FACTORS 349

ONE REEL MOVIES 350

TITLE BACKGROUNDS 351

SEND FOR THESE BOOKLETS 352

JULY

NUMBER 7
VOLUME VIII

REEL FELLOWS

A friendly '.’aternity of
movie amateurs sponsored
by Home Movies maga-
zine. Your membership i$
invited.

CHAS. J. Ver HALEN C. J. Ver HALEN, JR. ARTHUR E. GAVIN

PUBLISHER ASSOCIATE PUBLISHER EDITOR

OFFICE OF PUBLICATION
6060 Sunset Boulevard, Los Angeles, Calif.

Phone GRanite 5149

NEW YORK OFFICE
Everett Gellert, 62 West 45th Street
Vanderbilt 6-5254

CHICAGO OFFICE
C. N. Burris, 712 Wrigley Building
Whitehall 7784

RAY FERNSTROM

Technical Editor

GEORGE W. CUSHMAN

J. H. SCHOEN
Associate Editors

C. E. BELL
Photographic Editor

L C. BUSCHER
Art Director

HOLLYWOOD’S MAGAZINE FOR THE AMATEUR

PAGE 314

HOME MOVIES FOR JULY

By CiNEBUG Shopper

KIN-O-KVS

Prove to your own satisfaction that qual-
ity films need not be costly. Try a roll
of KIN-O-LUX. Test it under the iden-
tical circumstances you use other films.
Look for its speed and latitude in get-
ting the picture — its grain for projec-
tion quality. After its neen processed
and scratchproofed in KIN-O-LUX Lab-
oratories— project it on your screen.
Then compare the superior results
you’ve attained with KIN-O-LUX with
any other film at any price. But even
more important — note the price you pay.
You’ll see why more cinephotographers
turn to KIN-O-LUX for all their film
requirements to almost double their
motion picture pleasure without in-
creasing their film budget. Reliable deal-
ers everywhere carry KIN-O-LUX in
stock. For the name of the dealer near-
est you write to Dept 2H.

Prices include processing, scratch-
proofing and return postage.

One of these four Kin~
(}-Lux Films fits your
need of the momen/—
all four fill your various
movie requirements —
the year 'round.

Lecture Service

OLTUOOR
KIN-O-LLX NO. 1
(VLeston 8, Scheiner 18°)
100 ft. S3.00.

OUTDOOR
KIN-O-LUX NO. 2
(^\c*ston 12, Scheinec
20°) 100 ft. $3.50.

OUTDOOR AND INDOOR
KIN-O-LUX NO. 3
f Weston 50 Tungsten 40,
Sclioiner 26° Tungsten
24°). 100 ft. $6.00.

MOV

If I L M

INDOOR ONLY
KIN-O-LUX NO. .3
GOLD SEAL

(Weston Tungsten 100,
Sclieiner Tungsten 29° —
no outdoor ratings). 100

"Ttr $6.00.

Reg. U.S.Pat.Off.

KIN-O-LUX, INC., 105 West 40th Street, New York City

Safeliqht Lamp

E-Z Pan Heads

Announcement is made by Ameri-
can Bolex Co., New York, of the
new Bool’s Automatic Splicer. It is described as precise
in operation, neat in appearance, simple and rapid in

operation and unsurpassed in
performance. The splicer said
to perform with great efficien-
cy in joining 8, 91/2 or 16mm
film, is entirely made of steel,
plated in satin chrome. The
whole is mounted on a skid-
proof, warp-proof ebony fin-
ished wood base. Cutting
leaves are precise to an ex-
treme deg re e and splices
made with it leave neither
white or black line. Emul-
sion scraper, which is acceler-
ated by means of a spring on
its spindle, is of hardened steel and double-edged to in-
sure long service. An incorporated feature, particularly
important in preventing damage to Kodachrome film, is
a series of grooves in the cutting leaves which catch sur-
plus cement and prevent it from running over surface
of film.

Irving Brown, Camera Mart Inc.,
New York City, announces the ar-
rangement of a paid motion picture lecture service to be
conducted by several professional motion picture techni-
cians in different branches of the industry. Lecturers
discussing different techniques will be equipped with mo-
tion pictures or slide films for illustrating purposes.
Series is described as a schooling in motion picture pro-
duction which will enable the serious worker to have a
broader outlook in making better movies.

Camera Mart invites inquiries anent booking dates and
other desired information to cine clubs in their vicinity.

A handy new Kodak Adjustable
Safelight Lamp is announced by
Eastman Kodak Company. Supplied with a wall bracket
into which its regular base can be quickly fitted, the lamp
has a parabolic shell finished in gray and a bayonet-lock
rim which holds the SV^-ir^ch safelights in place. When
used either standing on bench or shelf, or hung on wall
bracket, it can be swung almost in a complete circle yet
will remain in any chosen position. The price with safe-
light (No. 2 unless another is specified^ is $4.50.

With assurance that there will be
no production hold-ups to delay de-
livery, Camera Specialty Co., New York, announce Cas-
peco’s E-Z Pan Tripod Head in two models. Regular and
DeLuxe. Both models
pan or tilt in any direc-
tion, have a positive
quick-action lock to hold
the heaviest movie cam-
era and are sturdily
built of nickel-plated
machined brass. Stand-
ard tripod screws to fit
every camera are pro-
vided. Regular E-Z Pan
Head is priced at $2.95
while DeLuxe is $3.75.

to- ^tiAocult anA Opo^iato

REVERE MODEL 99 TURRET

has same basic features as Model 88 plus a turret
head for 3 lenses and extra optical view finder for
telephoto lenses. Complete with one tfic r\r\

12.5mm, F 2.5 lens >O^.UU

(Illustration of interior of camera)

The Watch-like Precision Mechanism of a
Revere 8mm. Camera

If you could look inside the Revere you would see a
watch-constructed mechanism with helically cut bronze
and steel gears which have bronze and hardened steel
jewel-like bearings.

Select either the Model 88 or the more versa-
tile Model 99, and you can have your choice
of several fine lenses. The lenses on both
models are screw type for fast interchange-
ability.

These are only a few of
the many advanced fea-
tures that have made the
Revere one of the fast-
est selling "eights” on
the market. Ask your
dealer about Revere
equipment. Send the
coupon now for new 4-
color literature on
Revere 8mm. Cameras
and projectors.

The precision-built Revere 8mm. Camera
leads in new features which assure rock-
steady movies that are rich in detail. Its take-
up construction, for example, does NOT snub
the film at the film gate. Instead, the Revere
has a simple AUTOMATIC FILM THREADING
sprocket — similar to that built into all profes-
sional 16mm. and 35mm. cameras. This ingen-
ious device takes all strain off the film gate,
assures ROCK-STEADY movies, and makes
easy threading.

Eastman-type Spindles in the Revere insure
correct placing of the feed and take-up spools.
The optical VIEW-FINDER in the Revere is
built-in and parallax-corrected. (Everything
you see through the view-finder is in your
picture). This finder has a large rear eye-
piece for quick sighting — a feature appre-
ciated by those who wear glasses.

FIVE speeds, 8, 12, 16, 24 and 32 frames per
second enable you to take any kind of photo
action you want, humorous ultra fast motion,
normal action, or slow motion studies of
speeding objects.

REVERE MODEL 85
PROJECTOR

REVERE DELUXE MODEL 85 PROJECTOR

complete with 500 watt lamp, F 1.6 lens and case.... $75.00

FEATURE FOR FEATURE
REVERE GIVES YOU
MORE FOR YOUR MONEY

0 Automatic film threading sprocket for
quick, easy loading and steady movies.

0 Built-in parallax-corrected view-finder with
large rear eye-piece.

0 Die-cast hinged housing.

0 Eastman-type spool and spindles.

0 Five speeds, 8, 12, 16, 24 and 32 frames
per second.

0 Positive speed governor control.

0 Adjustable footage meter, with "Easy to
read" dial.

0 Sturdy spring motor runs through 5 feet
of film per winding.

0 Spring tension on sides of film to allow
for variance in film width.

0 Stainless steel aperture and gate plate,
recessed to prevent film scratching,

0 Focal Plane-type 160° rotary disc shutter.

You’ll Get a NEW THRILL
Out of Making Movies

TmCAMERA

STANDARD MODEL 80 PROJECTOR

(without case) $65.00

THE REVERE AUTOMATIC
FILM-THREADING SPROCKET
ASSURES STEADY MOVIES

REVERE CAMERA COMPANY

Dept. 7HM. 320 E. 21sl St., Chicago. 111.

evere

Please send your new 4-color literature on Revere 0
8mm. Cameras and Projectors. »

Name . 0

Address ■

PAGE 316

HOME MOVIES FOR JULY

\ --««0

STOP-GEARS

PREVENT

OVERWINDING

\ FULL VISION i
\ VISUAL I

\ FOCUSING

,_c>

C-

'C^%

Victor Cameras are world famous.

Now again Victor announces
these many new advancements.

Write Dept. B-1 Today For New Folder

BETTER FILMS for BETTER PICTURES

^SUPEmOR^^A^
REGULAR PAN

Two Films — Two Speeds — Both for
BeEEer Outdoor Movies

Superior Pan, by combining high speed with
excellent photograpbic quality does a beautiful
job on difficult shots. Use it for shaded sub-
jects, scenes in slow motion, views with heavy
filters, and all pictures on dull or rainy days.
Regular Pan, with standard speed, is ideal for
routine movie making of all conventional sub-
jects. Both films project brilliantly. Both are
sold with reversal processing inclnded — $6.00
list for Superior Pan,$4.50 list for Regular Pan.

Jr, NEW

IVIew Cine Perfex

DU PONT FILM MFO. CORP.

NEW YORK, N. Y.

From Candid Camera Corporation
of America, Chicago, comes news
that regular deliveries are now being made on the new
Cine Perfex Magazine-Loading Double-Eight Camera. A
precisely designed and engineered instrument using 25-
foot magazines of double eight film packed by Eastman
in both black-and-white and Kodachrome, it has shutter
speeds of 8, 12, 16, 24 and 32 frames per second. It has
full 170 degree fan type shutter with a speed of l/30th
second at 16 frames. The spring drive runs 6 feet of film
at a winding and has positive stop and start mechanism
which stops motor when film speed drops below shooting
speed at end of wind. A built-in indicator shows foot-
age yet to run.

The extra large optical view finder has built-in masks
for 1 inch and II/2 inch lenses. Standard equipment is
a Wollensak one-half inch fixed-focus f2.5 lens with
standard turret head machined for standard Wollensak
thread. An exposure guide is engraved on one side. Back-
winding may be accomplished by capping lens and turn-
ing'over magazine. Magazines may be inserted or re-
moved before being run completely in daylight. Finished
in brown crackle with all operating indicators chrome
plated, this Magazine-Loading Double Eight Cine Per-
fex with f2.5 lens and turret head is priced at $59.50.
Available lenses include one-half inch fl.9 Velostigmat,
one inch f2.7 Velostigmat and IV2 i^^ch Wollensak Velos-
tigmat, all in focusing mounts.

Edncational Series

As the Federal government,
educational institutions and bus-
iness organizations are exerting every effort in a
concerted drive to establish better relations and closer
cultural contact between citizens of this country and our
neighbors in the South American republics, a new series
of 16mm. sound films on Central America, entitled “Way
of Life,” just released by Walter 0. Gutlohn, Inc., New
York, assumes pointed significance.

The series affords an unusual medium of obtaining

*iniinri Hrivp Available from the Auricon Division of
E. M. Berndt Corporation, Hollywood,
is the Auricon Sound Drive which operates any Cine-
Kodak Special Camera at a picture-taking speed of ex-
actly 24 frames a second
while working in syn-
chronism with an Auri-
con sound-on-film record-
er running at the same
speed. Synchromism is
maintained by the 110
volt alternating current
which feeds both camera
and recorder motors.

For field use, the mo-
tor drive operates from
an Auricon field power-
supply. This unit, about
equal in size and weight to a portable typewriter, will op-
erate a complete double-system talking picture set-up
consisting of the sound recorder and Camera driven by
the Auricon Motor. Over 4,000 feet of film can be pho-
tographed before recharging of the self-contained power
supply battery is required. Recharging of the 6-volt bat-
tery is only an over-night job.

Drive is finished in black baked enamel with chrom-
ium trim to match the Cine-Special. A ten foot “GE
Molded Rubber” connecting cord which plugs into house
current lines or the Auricon field power supply, is pro-
vided. Further details may be had by communicating
with E. M. Berndt Corp., 5515 Sunset Blvd., Hollywood,
Calif.

HOME MOVIES FOR JULY

PAGE 317

J/i KEW

authentic information and understanding, while being
entertaining, as in taking spectators into native homes
where typical family life may be observed, they provide
intimate glimpses of the customs, government, educa-
tional standards, industries and habits of the people
visited. With the series comprising eight separate single
sound reels, countries pictured include, among others,
Mexico, Costa Rica, Honduras and Guatemala.

Minipositive Copying Film Photographers and doc-

u men tar y technicians
engaged in microcopying will be interested in two cur-
rent developments affecting Agfa films used in their
work. The films involved are Minipan and Minipositive,
both made by Agfa Ansco in Binghamton, New York.

Agfa Minipan film, the new and yet already popular
film of high resolving power for microcopying, is now
supplied at a new, lower price.

Agfa Minipositive, a new film with an emulsion having
special characteristics essential for microcopying, is now
available to complement the function of Agfa Minipan.
The new Minipositive film incorporates balanced charac-
teristics of fine grain, high contrast and high resolving
power that make it ideal for preparation of positive
transparencies from microcopy negatives. For prices
and additional information address Graphic Film Divi-
sion, Agfa Ansco, Binghamton, NeW York.

Fotofade Craig Movie Supply Co., Los Angeles, has
issued a new folder describing Craig Foto-
fade. Detailed instructions on how to make Fotofade
fades and Fotofade wipes are given.

Martial Movie

Official Films, Inc., through Raygram
Corporation, New York City, an-
nounces “Our First Line of Defense,” a production made
with the cooperation of the U. S. Navy.

Theme of the subject, which is available in five stand-
ard lengths in both 8 and 16mm. sizes, is a stirring pic-
turization of Uncle Sam’s Navy fulfilling democracy’s
duty to protect its people. The might of the nation’s
sea-power — great battleships, swift destroyers and cruis-
ers ; aircraft carriers, torpedo planes and fighting planes
— is seen in grim, realistic action.

Fnlnr Mnvip Byron’s, Inc., 625 15th St., Washing-
ton, D.C., have just released a beautiful
new color movie in both 8mm. and 16mm. titled “Blossom
Time in the Nation’s Capital.” It comprises shots of the
President in the annual
egg-rolling event on the
White House lawn, the
Vice- President laying a
wreath on the tomb of the
Unknown Soldier and en-
chanting scenes of the
world renowned cherry
trees in bloom on the Cap-
ital grounds. The picture
is available in 100 foot
lengths in 16mm. and 50 feet lengths in 8mm.

Title Letters Hollywood Cine Products Co., Los An- i
geles, are marketing a compact set of j
three-dimensional title letters for use with small titlers. j
Set consisits of 120 characters 5/16" high accurately cut
from wood; two 4"x5” permanent backgrounds; two j
colored landscape backgrounds ; a clear sheet of celluloid
for superimposed titles; bottle of special adhesive; and
pair of tweezers for handling letters. i

This new kit known as “Titletters” is available with
white or red letters.

^Ucauen> NEW BEAUTY

DME

GLASS-BEADED SCBEEN

Reg. U. S. Pat. Off.

The first time you see your pictures on a Da-Lite
Glass-Beaded Screen you will be amazed at their
greatly improved quality. Their greater brilliance,
sharper details, and more accurate color and tone
values will give you a new feeling of pride in hav-
ing taken them. The famous Da-Lite Glass-Beaded
surface is the result of 32 years of manufacturing
experience. The millions of tiny glass beads are
specially selected and applied by Da-Lite's ad-
vanced process so that they reflect maximum light
to all practical viewing angles, without sparkling
or glare. See the many styles and sizes of Da-Lite
Screens, including the Challenger shown here at
your dealer's today! Write for literature now!

DA-LITE SCBEEN COMPANY, Inc.

Depf. 7 H.M. 2723 No. Crawford Ave., Chicago, 111.

Don't let it get away!

Get everything you want to get with your camera by using
the right film.

Two 16mm films that movie makers swear by are Agfa Fine-Grain
Plenachrome Reversible and Agfa Panchromatic Reversible.

Fine-Grain Plenachrome is especially suited to outdoor work —
with plenty of speed, pleasingly brilliant contrast, and wide latitude.

Panchromatic Reversible is extremely versatile — sensitive to all
colors and possessing unusual brilliance in projection.

Try these two fine Agfa films now. BothTare available in 100-ft.
rolls at $4.50 and in 50-ft. rolls at $2.75, including processing and
return postage. Agfa Ansco, Binghamton, New York.

HOME MOVIES FOR JULY

nm MOVIES

Published In Hollywood
JULY 1941

Union Pacific Photo

3iim Cl documentaru /im siflsoDS

• • •

In recording the activities associated with
summer homes be they lake cottages, beach
bungalows, mountain cabins or forest retreats,
average home movie makers all too frequently
limit themselves to summer pursuits, thus leaving
untapped rich veins of cinematic possibilities.

Granted that summer pursuits are most relevant
to a summer abode, there still remains untouched
the theme source of spring, autumn and winter
to fully round out our film story. Use of the pro-
gression of the four seasons as our main theme
will provide a ready-made continuity to keep our
movie camera active throughout the year.

We may want solely a mood picture, a film pic-
torial of the moods of nature in all seasons, or we
may wish to limit our filming to seasonal sports.
Better still, a happy blend of both can be made to
yield exceedingly happy results.

Those to whom this filming idea appeals, need
not wait for winter or spring to start filming the
initial scenes of this delightful continuity. Film-
ing can start right now with summer as the first
sequence on our shooting schedule, although we’ll
survey the continuity idea here from its rightful
beginning. Spring.

Opening each seasonal chapter of our film nar-
rative with an “identifying” shot will indicate the
time of year without undue explanation in titling.
For spring, we can shoot from a cluster of dried
brown leaves to the lacey leaflets just “abornin'”
on an adjacent bough. Shoot upwards and they
will be luminous against the background of blue
sky. Summer comes; the trees are full leaved.
Soon it’s autumn ; several close-ups of gaudily-
decked branches will tell the story. Then bent
limbs of evergreens, weighted with snow, or bar-
ren branches cellophaned by sleet, hint of win-
ter, climaxing our documentary of the seasons.

By closing each chapter with a sunset typical'

By Dr. Herbert W. Kuhm

Spring, Summer, Autumn,
Winter^all are photogenic

of that time of year: the pale sun of spring; the
hot, brazen disk of mid-summer; the coppery orb
of autumn, and the salmon light of winter shim-
ering over a snowy horizon will give to each, na-
ture’s owm characteristic fade-out.

Fortunate are they who can shoot sunsets across
a body of water. However, shooting in color will
capture some unbelievably lovely screen effects in
any sunset, what with cloud transitions from rose
and gold to blue-green and indigo. If you can look
into a setting sun without straining the eyes, your
f/3.5 stop will record it in color as you saw it.
When the lowering sun is veiled behind the clouds
and close to the horizon, you can readily open up
your camera wide and shoot directly toward it fc.r
brilliant effects.

Spring shots should adequately depict the rou-
tine procedures of that season : window shutters
come off, screens go on, gardens are planted, piers
set out, and boats overhauled, painted and
launched.

A relieving “gag” in this sequence is to show
all the folks but one busily engaged in these activ-
ities. Your “stooge,” on the contrary, is filmed in
slow-motion leisurely engaged in some minor task,
all languourously performed in an “andante” tem-
po. And then conclude with him all fagged out in
a lawnchair, nursing a tall, frosted drink.

Now get “back to nature.” Search out those
sparkling gems studding the nearby woodlands —
the wild flowers. Make some close-ups of them
with portrait attachment, telephoto, or portable

• Continued on Page 348

• One's summer vaca-
tion is an ideal oppor-
tunity to start filming a
continuity embracing the
progression of the four
seasons — a theme that
will keep your camera
busy the year 'round

319

mnp m$[RT!;

intepesi to tpcivei iiimS * . .

By George W. Cushman

Here's an idea or two
on how to make them

• Clarity is essential.
Unless points of interest
and travel lines stand
out clear, the effect is
lost. In Fig. I, line of
travel and names of
cities were marked with
heavy black crayon. Fig.
2 shows simple method
of shooting a map insert
with aid of typewriter
titler.

Inserts of maps at intervals throughout
travel and vacation films place our audience at the
locale of our filming more quickly than do titles or
any other medium. Map shots also serve as a tie-
up medium, knitting together in continuity a
series of more or less unrelated scenes. Made the
opening shot of a travel or vacation movie, a map
can convey the route traveled and locale of the
country and events pictured in the scenes to fol-
low. In short, maps properly used, hike interest
in a picture one hundred per cent.

There are numerous ways in which to execute

map shots and

Fig. 2

new treatments
are daily being
devised by ex-
ploring movie
amateurs. Shoot-
ing a map insert
can be simple
“kid stuff,” or en-
tail the use of
complicated
equipment if not
of one or more as-
sistants. But
whatever method
is best, success
depends upon one

HOME MOVIES FOR JULY

thing — clarity. Now clarity is governed by two ;
things: the skill of the photographer in setting ^
focus and exposure, and makeup of the map se- j
lected for photographing. j

Perhaps all of us are familiar with those li
map inserts which were so cluttered with detail — '
names of cities, rivers, and boundary lines — as to i
make them unreadable on the screen. This results j
where ordinary road maps such as those distrib-
uted by oil companies are used. With all details |
of the map equally prominent, the eye is unable to
fully comprehend directions, etc., during the brief |
time the insert appears on the screen. Where J
such maps must be used, the result will be more II
effective if the route of travel is traced on the
map with a heavy line drawn with a black crayon i
or india ink as shown in Fig. 1. Still more ac- ,
ceptable is the map that is traced from the origi- ^
nal with only the important boundary lines and i
landmarks showing plus the heavier line indicat- |
ing route of travel. The names of important cities i
or towns reached along the line of travel, of course, i
should be printed in too. In this way, all the non- ■
essential details of the original map which con- ,
fuse the eye are eliminated, thus lending a more |
professional touch to the picture. i;!

Probably the simplest method of filming a map ;
insert is to cut out the section of map to be pho- '
tographed and insert it in a titler, as shown in j
Fig. 2, following the route with pencil point while ^
filming. The same rules governing lights, expos- \
ure, etc., in title making would apply in making |i
such a shot. n

A novel map seen recently was that which con- i
veyed the idea that the filmer had traveled by air. ^
The camera, mounted to shoot straight down ver- ^
tically toward the table, filmed a map that was ■
moved slowly in front of the camera then turned
in a clockwise motion to lend the impression that ‘
it was being filmed from a plane while circling ;
just before making a landing. To further simulate ’
this, the map was zoomed slowly upward toward
the camera until the lens centered upon the name i
of the city, suggesting the descent of the plane at
that point.

Another filmer who wanted animation in the
line denoting the route of travel followed, made
his own map, cutting out with a razor blade a slit
about inch wide where ordinarily would be the
line drawn with ink. Beneath this was placed a
sheet of paper, half white and half black, and
the two were placed on a title board before the
camera with a portion of the black area of the
second sheet showing at the starting point on the
map. When the camera was started, the sheet of
paper in back of the map was moved slowly so
that the black area traveled beneath the cutout
slit and toward the next point of interest. On the
screen the line appeared to “flow” and the effect
was even better than might have been achieved
by stop-motion photography, and with consider-
ably less trouble.

• Continued on Page 349

320

n,,

I) I

ll:

HOME MOVIES FOR JULY

• Here, not old enough to have devel-
oped the lustrous long tail feathers for
which it is famed, is a young Quetzal
captured and photographed in the rain
forests of Panama. Even reproduction
of a color photograph could not do jus-
tice to the beauty of its multicolored
plumage.

In a swaying, creaking coach of the nar-
row gauge train that connects the coastal country
of Panama with the reddish slopes of the extinct
volcano of Chiriqui, we — my wife Christine and
I — moved into the hinterland of the isthmus
which snakes down between Central and South
America. As the white, billowy clouds necklac-
ing Chiriqui began to thin, we could see the omin-
ous cone of the volcano thrusting its head into
the deep azure of a tropical sky, carrying with it
festoons of trees, lianas, and orchids fashioned
into thick jungles.

It was into these jungles, a mile and a half in-
to the heavens, that we were bound in quest of

^^oduclirotne CLuest tLe 0 U E T / (I L

the Quetzal, famed, fabulous bird of an ancient
civilization — a quest we hoped would enable us
not only to capture one or more Quetzals alive but
to secure a complete motion picture record of the
bird and of incidents involved in its capture.

For three centuries the Quetzal remained a
myth. Historians recording the discoveries of
archeologists who uncovered and restored many
of the Mayan and Aztec ruins in Mexico and Cen-
tral America, tell of this — the most beautiful bird
in the world — ^who gave its name, “Quetzalcoatl,”
to the sweet-tempered gods of the Toltecs, and its
amazing three-foot long golden-green tail feath-
ers for the plumes of Aztec knights.

Now, however, the Quetzal was no longer a
myth. For earlier, in 1937, I had captured the
Quetzal alive in the cloud forests of Honduras.
It was during this adventure that I had studied
their habits and so laid the groundwork for the
final and most spectacular feat of all — the photo-
graphing on 16mm. Kodachrome film of this beau-
tiful golden-green bird.

And so, when the steamer moved into the ba-

Pride of the Aztecs no longer a myth
as this remarkable movie proves . . .

By Victor W. von Hagen

nana-harbor of Puerto Armulles in Western Pan-
ama where we were to board the train, much of
our plans for the filming had been completed. We
knew the Quetzal lived in the high rain forests
in altitudes ranging from 5000 to 8000 feet above
sea level ; and in the tropics, this meant much
rain and humidity — an atmosphere of such sus-
pended precipitation, that a sneeze would open the
rain-valves in the cloud forests and bring forth a
deluge.

In order to obtain successful motion pictures
under such conditions, we had to have sturdy
cameras; and more important, a safe method of
preserving Kodachrome film in the humid rain-

• Continued on Page 334

• In the first picture
below, author is shown
administering mild sed-
ative to baby Quetzal
to permit easier, safer
handling. 2 — A glimpse
of the almost Impene-
trable jungle home of
the Quetzal. 3 — Close-
up of a baby Quetzal
in the doorway of its
nest.

HOME MOVIES FOR JULY

eSauin^

tne li

ome-

• Is this the town's leading citizen?
Could be — in a film burlesquing your
home town and its prominent citizens or
your neighbors. A lot of fun can be had
both in filming and screening a trave-
logue made with this comedy slant.

time-worn plots you may have been innocently
showing. To give an idea what can be done with
any home town, here’s a shooting script for a
travelogue through “Plattsville.” Any resem-
blance to any other Plattsville is purely coin-
cidental.

Title: “Ah Plattsville! A travelogue photo- 1
graphed by Clarence Y. Bopp.” Fade out to: i

Title: “Plattsville — home of quiet, peace-

loving folk.”

Shot 1 : If you must work the children in, here’s
the place to do it. Just have two kids fighting
for all they are worth, and possibly a third one I
joining in later. Film just enough of this sod
your audience will get the idea of “quiet, peace- H
loving folk.” I

Title: “Downtown we find huge, magnificent!
structures.” H

Shot 2 : For this one take your camera and D

find two or three of the worst looking stores. I
Every town has a few. Photograph these stores
from the worst possible angles.

Title: “The people are intelligent . . .”

Shot 3 : Get three or four of your friends and
tell them to look dumb — or natural, as the case i
may be. Mouths hanging open with tongues lag- r
ging out will get the idea across. Here’s where .j
close-ups have possibilities. I

“Title: “Everyone is willing to lend a helping j

unmiKui

Kid your audience with a farcial
film tour of your city . . .

Bxj S. T. VanDyler

It’S fun to make fun of — but it’s twice
as much fun to film it! Your own home town is
all the background you need for a travelogue that
will actually have your audience, instead of you,
suggesting that you screen it again. The ever-
present first few shots of little Nancybelle walking
up the court house steps and the rear view of the
fire department (or of little Nancybelle) may be
interesting to your audience simply because you
filmed them. But after ten more shots of the city
hall, the statue in the city square, and the post-
office, all preceded by th^eternal caption, “Views
of Plattsville,” they wouldn’t be interested even
if you had built them yourself!

Why not turn humorous and play your town
for all it’s worth? It’ll be a pleasant relief from
group shots of the family in action and all those

hand . . .”

Shot 4 : Here’s an exciting scene. Take two i
people and a banana atop a garage with a fiat I
roof. One person should be hanging over the |
side of the building holding on with just one
hand. His other hand is stretched up in an
agonizing plea for help. It is easy to see that
if your friend is of any value, the garage roof
should be fairly low. The other person, who is ,
busily engaged in eating a banana, looks at the
unfortunate creature for a moment. He breaks
off a piece and generously drops it into the other’s i
outstretched hand. With a self-satisfied smile
he turns and walks away leaving the other person
gazing bewilderedly at the banana.

Title: “One makes true and great friends
here . . .”

Shot 5: For this one, plant two people on ^

• Continued on Page 3 i8 |

Harbor Sunset, on opposite page, i

was filmed in Hawaii by Dr. Carlyle I

Miller, of Huntington Park, Calif. |

Movie amateurs will find It an excel-
lent background tor a main title to
vacation or travel movies.

322 1

Ite^

By J. H. SCHOEN

Within these hills,” the Movie of the

Month, is undoubtedly one of
the great amateur pictures
of the year. And since its ini-
tial review by Home Movies,
Non-Theatrical Pictures Cor-
poration of New York have
adjudged it winner of first
award in their“My America”
film contest for amateurs.

Running 800 feet in 16mm
Kodachrome, this outstand-
ing movie was produced by
J. Glenn Mitchell, of Joplin,
Missouri. It is a great pic-

• The group of pictures above
are reproductions of enlarge-
ments from the 16mm Koda-

chrojjie Movie of the Month,

"Within These Hills," a picture
as near cinematically perfect
as an amateur could make it.
At left, smiling behind the Filmo
that photographed "Within
These Hills,, is its youthful pro-
ducer, J. Glenn Mitchell of
Joplin, Missouri.

ture not only because it was well made but also
because of the unusually fine recording of music
and commentary Mitchell made for it. Nor could
he have chosen a more timely subject. Mitchell’s
picture brings a message to all who are fortunate
to see it — a message that arouses a feeling not
soon forgotten. The theme, the manner in which
it was photographed, and the words of the com-
mentator so closely parallel those of professional
theatrical productions, it is difficult to believe they
are the work of an amateur.

The picture easily accomplishes its puipose of
reassuring Americans that in spite of the turmoil
gripping the world today, there is in the United
States a sort of Shangri-La, where people live in
contentment, unmindful of the fears and uncer-
tainties with which world strife has filled so many.
We are shown the contented life led by the
inhabitants of the Ozarks — not in the tattered
and barefoot raiment nor living in the hovels
frequently pictured by humorists — but in neat
orderly country homes with an indelible air of
security and contentment about them.

As the opening scene — a beautiful landscape
shot of Sugar Creek Valley — flashes on the screen,
the following title fades in, superimposed over
the scene and continuing in a rolling scroll:

“The past ten years have seen the people of the
world became more confused. The fears and un-
certainties of the future have fostered discontent

• Continued on Page 336

324

HOME MOVIES FOR JULY

• Spill light from projector gate tailing
upon the stroboscope provides basis for
this new system of synchronizing projector
and record player.

STROBOSCOPE

JjIKE a great many movie amateurs making
recordings to play with projection of pictures, I
encountered the problem of keeping the projector
and record player turning in synchronization. The
projector would speed up or slow do^m and I had
no way of telling when it was running at the prop-
er speed. I decided to experiment with the prin-
ciple of the stroboscope as a means of controlling
speed of projector as well as record player.

Some time ago, I purchased a stroboscope disc
for the purpose of checking speed of my phono-
graph turntable. Instructions printed on the stro-
Doscope informed me that it must be illuminated
with a lamp connected with 60 cycle current. The
stroboscope disc, which has a number of dots or
segments equally spaced around its rim, will ap-
pear to remain stationary when illuminated by 60
cycle current light source and when turning at
consistent speed in ratio to the number of dots
to the pulsations of light from the lamp.

Considering further the principle of the stro-
boscope, it occurred to me that the light spilling
from the projector gate while pictures are pro-
jected is also intermittent, the speed of intermit-
tency of course being slower than that of a regu-
lar lamp bulb. Why not devise a stroboscope
keyed to this light source for controlling record
player and projector simultaneously?

The standard stroboscope disc has ninety-two
dots. Illuminated by 60 cycle current, the light
flashes 120 times a second or 7200 times a min-
ute— so fast the pulsations are not visible to. the
eye. The phonograph turntable turns at 78 revo-
lutions per minute. I found that by dividing the
number of revolutions per minute into the num-
ber of light pulsations per minute I arrived at
the number of dots or segments required on the
strobo disc. From these results I worked out the
following formula for computing the number of

duncA

” Lotli Droiector

proL
d turntaLiei . .

By William J. Bornmann

dots necessary with any turntable speed or num-
ber of pulsations of light per minute.

PULSATIONS PER MINUTE _ PPM _
REVOl.UTIONS PER MINUTE “ RPM ~
number of dots or segments.

All projectors spill some light from the gate.
When the projector is running at sixteen
frames per second it gives sixteen separate and
distinct flashes of light per second. These facts
enabled me to figure just how many dots had to
be on the disc for various speeds of the turntable.
The speed of most phonograph turntables in use
today is 78 revolutions per minute. My calcula-
tions show that :

16 frames per second = 960
frames or pulsations per minute.

P P M 960
R P M 78 ~

segments necessary to rim of
stroboscope.

I then proceeded to make a
disc with twelve dots around the
rim, as shown in Fig. 2. 1

placed it on the phonograph
turntable and set my pi’ojector
up beside it so that the light
spilled from the pi-ojector gate
would fall on the sti’oboscope as

• Continued on Page 3-17

Fig. 2

• Below is the strobo-
scope used in system
described by author.
Cut it out and paste it
on a piece of card-
board, piercing the cen-
ter so it may be slipped
over turntable spindle.
With it you can accur-
ately synchronize your
projector with any phon-
ograph or record player
turning at 78 revolutions
per minute.

325

HOME MOVIES FOR JULY

• Familiar to all are the reaction shots
in theatrical movies — those quick, short
closeups of an actor's expression as he
reacts to some incident or remark in the
play. Such shots have a place in ama-
teur movies, too.

REBCIIOII snoiu

'eep

^our movie mouina

By Stanley E. Andrews

shots ; it might be indicated by facial expression,
or by some action. It is inserted in the film some-
times in the middle of the scene with which it is
associated, sometimes at the end of it, and occa-
sionally, for effect, ahead of the action to which
it relates.

How well we remember the times when the
younger element in an audience in a movie show
would shout to the hero, to “look out!” as the vil-
lain is about to slug him from behind. This
shows that an audience becomes in sympathy, or
out of sympathy with the action in a picture, and
to give the audience pleasure this sympathy must
be catered to. For instance if we have some shots
of little four-year-old Johnny climbing up a high
ladder in the garden, it would bring an expression
of alarm from Johnny’s mother should she sud-
denly look out of the kitchen window and discover
his plight; and she would probably shout to him
to get down. This reaction should be shown in
the picture. The audience sees the same thing as
the mother, its feelings being somewhat along the
same trend, and the audience is anxious that the
mother know about the precarious position in
which Johnny has placed himself.

Reaction shots can be put to many uses. They
can be used to avoid monotony. Take scenery for
instance. No matter how beautiful the views, we
cannot show more than just so much without the
audience getting restless unless we break up the
succession of views in some way. Granted that
reaction shots are fairly difficult to figure out for
scenic shots, but it is not by any means out of the
question. We could, for instance, have one mem-
ber of the party looking through field glasses then
calling the attention of the rest of the people to
what he is looking at, and handing the field glasses
to one of them. This could precede a shot which
is a little more outstanding than the rest of the
sequence.

It is far easier to put reaction shots in sequen-
ces where something is actually taking place. Take
the well-known trick shot of a diver from a spring-
board filmed with the camera upside down, and
probably in slow motion, which, on the screen, will
show the diver coming out of the water feet first
and on to the diving board. Such a shot could be

followed by a reaction
shot of a spectator look-
ing very much surprised
about it. If we have sev-

• Here are two typical reaction
shots from movies of children. In
first picture, the girl watches ex-
pectantly for her partner's bubble
to burst. In second picture, the
little boy has sighted something
interesting and the scenes that fol-
low tell what he saw. While you
do not sense it at the time, close-
ups like these bring the picture
story closer to you as you view it
on the screen.

Interesting closeups of human
expressions liven continuities
and documentaries alike . . .

I F one takes the trouble to analyze the
editing technique of professional movies, c.ne can-
not help but be impressed by the value of the “re-
action” shot. In amateur movies the need for
such shots is even greater than in professional
movies, because the amateur photographs mostly
scenery, picnics, children, gardens, etc., which re-
quire extra interest-giving material far more than
the expertly worked-out plats of the professional
screen, which are supported by the highly trained
and highly paid actors and actresses with which
the professionals have to work.

The simple reaction shot is easy to define. It is
a shot, usually in close-up or medium close-up,
showing the reaction of a person or thing in the
picture, to something depicted in the adjoining

20th Century-Fox

326

lii

eral such shots of a diver, we can take one of them
and cut just where the diver is leaving the water,
then insert a shot of spectators moving their heads
to follow the diver upwards, then cut back to the
diver just as he lands on the springboard.

It E ACTION shots can be used in a sugges-
tive way to fill in gaps in continuity, or to save us
from shooting a series of awkward or bothersome
shots in order to get continuity. For instance,
supposing while in a morbid frame of mind we
wished to take a shot of someone jumping or fall-
ing into the water and drowning. This is merely
an example. We could take a shot of the victim
on the edge of a clilT in a position of danger, then
cut to our reaction shot of someone expressing
horror in some way and looking toward the water.
Then cut to a shot of ripples on the water which
could be created by throwing a large stone into it,
trimming the pictiu’e when editing at a point just
after the stone is below the surface, and not vis-
ible. If we can get bubbles on the watei’ by some
means, so much the better.

Animals can be used for reaction shots. At a
picnic, if there is a dog present, we could show it
tied to a tree, straining at the leash, just out of

reach of the food which the picnickers are putting-
down the hatch as fast as they know how.

Inanimate things can be used for reaction shots.
On a holiday or Sunday in the summertime when
everyone is at the beaches or in the mountains, a
shot of the deserted downtown section with the
blinds di-awn on the store windows, would be a
quasi-reaction shot to insert in a suitable place
amongst the holidaymaking shots. A close shot of
a cup of coffee and a plate of food being placed
beside the clock on the mantel could be made the
final shot of a horseback riding sequence.

It is sometimes quite effective to place the reac-
tion shot, 01’ shot akin to a reaction shot, ahead of
the action. An audience likes occasionally to see
the effect before the cause. For example, the cam-
era could be focused upon a piece of cloth moving
along jerkily, followed by a shot of a sewing ma-
chine at work. Traversing from the reaction to
the action may be done by panning or tilting in-
stead of by a direct cut if one wishes. For in-
stance from a shot of a little dog sitting on its
hind legs begging, we could uptilt to people sit-
ting around the garden table eating a meal.

The next time you go to the movies notice the
mannei’ in which the professionals make use of

• Contnmeci on Page 3S I

o Above is another
type ot reaction shot.
Here a group of people
with cameras poised
wait for Old Faithful
geyser to erupt. Can't
you imagine cutting to
a long shot of the gey-
ser in full eruption im-
mediately after a shot
of this group suddenly
putting their cameras
into action? How much
more interesting your
movie thus would be
than if it consisted only
of long shots ot the
geyser

327

• These two pictures were
made from the same camera
setup. Note how tilting cam-
era upward in making picture
"B" reduced the water area
and added clouds and pine
boughs to improve composition.

i:iiiiiMi!;iiiiiii

dammef ^iimina .

By Dr. A. K. Baumgardner

FIG.l

FI&.2

'HEN we find a subject we would
like to photograph with our movie cam-
era, the success of the resultant shot
will depend upon our ability to size up
the scene then shoot it for best possible
composition. There’s really nothing
mysterious about composition and now
that summer brings increased activity
in picture making, this is the time to
give a little thought to the subject and
practice some of the fundamentals that
tend to improve composition.

We are aware that appreciation of
composition is greater among those per-
sons who know nothing of its existence
except that they are pleased by its ef-
fects. Hollywood does not restrict itself
to only those forms of composition
which the audiences will understand
from a technical standpoint. No, Holly-
wood puts all the “oomph” in its pro-
ductions, using sound and proven prin-
ciples but still appealing to the vast pub-
lic which is untrained in judging the
value of composition, but appreciative of
any pleasing or non-
irritating eye com-
fort.

FIG. 3

FIG.4

Composition is best defined by that effect which
is pleasing to the eye. Optical illusions demon-
strate effectively how the eye is deceived by the
creation of effects of depth. Through the use of
some of these ideas, it is my intention to show the
value of emphasis on strong or weak points to
bring them out for pleasing effects.

Figure 2 shows a set of parallel lines which are
disturbed by the surrounding lines which lead the
eyes away from parallelism.

Figure 1 shows a rather common illusion made
up completely of straight lines but so arranged
that they create the illusion of depth in two dif-
ferent ways. By concentrating on the outer edges
of the steps, they appear to go down from left to
right; however, if one concentrates on the far
edges of the steps, they appear to invert like a cor-
nice on a building. Note how the entire object
changes position and the lines which at first ap-
peared to be closer are now farther away. By em-
phasizing one or the other by making the lines
heavier which attract the eye more distinctly, we
form a permanent effect which is hard to upset.

Figure 3 shows two center circles of the same
size, but the surrounding circles have a tendency
to misguide our judgment.

Figure 4 shows a perfect circle which appears
to be irregular in shape because of the lines drawn
through the edge which lead the eye astray.

These illustrations show elementary forms of
composition which help to retain or dispose of
certain effects. Simple arrangement of lines di-
rect or misdirect the eye according to their promi-
nence. Keeping backgrounds in focus with
blurred foregrounds have a natural tendency to
attract the eye to that portion of the scene which
is easier to view. A sharp foreground with a soft
focus background reverses the effect and this
method is frequently employed to limit eye excur-
sions over the most desirable objects within the
picture.

• Continued on Page 346

• A knowledge of effect the placement
of masses or vertical and horizontal lines
has on a scene is important. The optical
illusions created by treatment of the
lines in sketches at left are explained in
the accompanying article.

328

eMo4m Mowe^

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HOME MOVIES FOR JULY

m\\.m j f:L, .. .

I NE point your reviewing- editors have
probably failed to make clear in the past is the
fact that all films sent in for review and criticism
may be returned again for re-review where im-
provements or corrections have been made. Thus
amateurs who desire to follow the suggestions
made for improving their films, may obtain the
editors’ added criticism or comments on the im-
provements. Remember — this service is free to all
movie amateurs, whether subscribers to Home
Movies or not.

Read the following reviews carefully. There are
suggestions in each that may aid you in making
movies, or there may be a filming idea that you
can adopt for your own picture making.

"CURSE OF THE COBRA"

800 feet 16mm — By B. L. D.

★★★

Contimiity: This well planned mystery story
concerns a number of heirs called to a meeting
at a house in which many strange things occur to
frighten them almost to the stage of abandoning
the estate.

According to terms of the will, all heirs are
required to remain in the house overnight. As
the picture opens, it reveals the heirs arriving
with some trepidation, at the dwelling situated
some distance outside the city. As the guests
knock, they are admitted by a young Hindu serv-
ant, whose manner immediately suggests dire
things to come.

Last to arrive is the family attorney and as
the group gathers about the long table in the
living room, the houselights suddenly dim, an
eerie noise is heard, and then projected on the
wall above their head is the silhouette of a Hindu
blowing a horn. This is followed by utterance of
a warning from an unseen person that all those
remaining in the house will
die.

Presently the lights go out
again. There is a shriek and
all leave the room, in search
of the source of confusion.

When they return again to the
living room, the attorney is
stretched out on the floor,
apparently having been shot.

But when the lights again go
out, the body mysteriously
disappears.

By The Editors

A thriller and two travel pictures
offer timely filming Ideas . . .

Through it all, the Hindu servant is mildly
suspected, but he always turns up aiding the
frightened guests. The successive incidents are
too many to elaborate upon here, but the picture
closes with the attorney revealed as the arch
villain who has attempted to frighten the heirs
in order to obtain possession of a valuable jewel,
part of the estate. His death, staged earlier on
the living room floor, proved just a bit of clever
acting.

The scenario contained 265 scenes and 110
titles and was over one year in the filming.

Editing: Considering the pretentious and am-
bitious effort undertaken by this filmer and his
associates, he has done a remarkable job. Scenes
are cut very professionally. Medium, closeup, and
angle shots are spotted in frequently to enhance
action.

Titling: All of the 110 titles, plus the lettering
superimposed over several scenes were made with
a typewriter titler. Title cards were typewritten,
using a silver typewriter ribbon on black cards.
The results are very good.

Photography: Exceptionally good throughout.
With the exception of one or two exterior night
scenes, all scenes were shot indoors, the sets
requiring in many instances as many as eight
No. 2 Photoflood lamps. Highly commendable are
the low key shots made in the cellar with the aid
of high speed film and an ordinary 60 watt lamp.

Equipment : Bell & Howell Model 70-D camera;
f/2.5 wide angle lens; f/1.8 one inch lens; a three

• Continued on Page 3 SO

• Registering horror in
the picture above are
two of the principals in
"Curse of the Cobra,"
800 foot thriller dlller
reviewed here. Below at
right, a scene from "Va-
cation 1940," and at
left — a scene from "Yo-
semite Park." All pic-
tures are enlargements
of scenes from original
films.

329

k^cathnal ir p^cumentatif jilnu

S E C T I O N

( I

HOME MOVIES FOR JULY !

• Scene at left is from amateur docu-
mentary film picturing evolution of bakery
goods from flour to finished product
which is screened in conjunction wilh
Continental Baking Company's radio
show, "Your Marriage Club."

One of the newer fields for 16mm
movies is that of augmenting studio
entertainment for radio broadcast au-
diences. More correctly, we should say
16mm movies are providing a medium
for added promotional publicity for air
show sponsors in conjunction with their
broadcasts — a sort of companion attrac-
tion for double feature radio shows. For
the pictures, in most instances, are pro-
motional or business films.

As yet, the practice has not become
general but the success which followed
screening of films at such 1940-41 air
shows as Lucky Strike’s Hit Parade,
Chesterfield’s Glenn Miller Show, and
Dupont’s Cavalcade of America augurs

well for expansion of it when big time
air shows resume broadcasting in the
Fall.

One sponsor, not mentioned above,
whose recent radio broadcasts were aug-
mented by studio screening of movies,
is the Continental Baking Company,
makers of Wonder Bread. And the
movie which has been screened for 28
weeks in fourteen different cities in con-
junction with Continental’s air shows
is the product of an amateur movie
maker, Albert J. Ohlson. Incidentally,
Ohlson is Art Director of Continental
Baking Company’s advertising depart-
ment.

Briefly his story is this : Ohlson’s yen

for moving picture making dates back
to 1907 — and that’s a long time — when
standard 35mm movies w'ere just achiev-
ing recognition on the screens of nickle-
odeons, the slang term given movie
theatres in those days. Ohlson built his
first 35mm camera, also projector, and
shot movies that received for the first
time as far as history records, the
compliment, “sensashionall !” Naturally,
Ohlson expected to cash in with his
movies, but one thing and another inter-
vened and he has remained in the ranks
of the non-professional ever since.

Having had a great deal to do with
designing and setting up the Wonder
Bread exhibit at the New York World’s
Fair and being naturally proud of his
work, Ohlson set about to preserve the
exhibit on Kodachrome. About this time
Mr. M. Lee Marshall, President of Con-
tinental, heard of Ohlson’s interest in
filming the company exhibit, and being
a rabid movie amateur himself, called
Ohlson to his office and commissioned
him to make a complete 16m Koda-
chrome movie of the exhibit for his
personal heme movie library.

We’ll let Ohlson tell the story from
here: “With all the enthusiasm I could
muster at the moment I said ‘Yes!’ I
had about seven evenings left to do the
job, for the Fair was nearing its close.
I already had filmed some exterior shots
of the bakery but not much of anything
else. It proved a bigger job than I had
anticipated. I needed Photoffoods and
lots of them. An electrician was called
in from the local union to stand by. I
was using 10,000 watts illumination and
this required engaging two assistants —
one to watch the lights and the other
to assist with the camera. Test shots
were made at the beginning, but were
not returned from the laboratory fast

• Continued on Page 340

hifucaticHal ^

SECTION

By George W. Cushman

HOME MOVIES FOR JULY

• The regular educational film features
and departments usually found on these
pages will be discontinued for the July
and August issues only. They will be
resumed again with the September Issue
and augmented by special features and
articles of interest to educators and stu-
dents active In school production of
movies as well as visual education In
general.

• Educational films may have their inn-
ing in a big way as soon as television
broadcasts become more numerous. Li-
censing of commercial television was
begun by the Federal Communications
Commission the first of July, and it is
expected to. bring back greater produc-
tion of educational films. This type of
picture has become a substantial base
for television programs. Prints of cur-
rent feature films are withheld from
television.

♦ ♦ ♦

• The Department of Agriculture is
now entering upon its 33rd year as a
producer of motion pictures. In 1908
Lewis Williams, illustrations chief in
the Publications Division, filmed a flight
of the Wright brothers at Fort Meyer,
Virginia. This was the first film to be
acquired by the Department.

This interested the officials and the
shorts that followed are among the first
educational films ever made.

From this somewhat accidental be-
ginning, the motion picture division of
the department has grown to where it
is now as large as any other producer
of commercial films.

♦ ♦ ♦

• After more than three years of re-
search, preparation, and editing, the
first volume of “The Film Index” is now
available.

This volume, entitled “The Film is
Art” makes accessible for the first time
the vast accumulation of information
about films housed in the many libraries
all over the country. Although the di-
gests adhere to accepted bibliographical
form, they have been made more color-
ful than is usual by the exercise of crit-
ical privileges by the editors.

The inclex was compiled by the
N. Y. C. WPA Writers Project, under
the supervision of the Museum of Mod-
eni Art and is published by the H. W.
Wilson Co.

♦ ♦ ♦

• “The City”, documentary film con-
cerning the problems of modern Amer-
ican cities, will be featured in a series
of library forums to be held in branch-
es of the New' York Public Library dur-
ing April and May.

Screenings will be followed by discus-
sions on the subject, “Can we plan liv-
able cities?”, conducted by a represen-
tative of the Citizen’s Housing Counsel
of New York.

Of all the classifications motion pic-
tures may receive, no two are more con-
fusing nor closely associated than the
documentary and the propaganda film.
No two people seem to have the same
definition for the word propaganda, and
the same can be said to some extent
about documentary.

Both types of films are more preva-
lent today than ever before. The cur-
rent European war has, of course
brought the word “propaganda” out of
hiding, and the Department of Agricul-
ture’s documentaries made in recent
years (The Plow that Broke the Plains,
The River, The Land) have resulted in
increased public consciousness to that
type of film.

To distinguish between the two, some
understanding of their qualifications is
necessary. Even the best of film critics
will disagree on a certain film, some
calling it a propaganda medium, others
saying it is purely documentary in na-
ture. To most people, however, a pro-
paganda film appears to be one which
presents only one side of an argument
for the purpose of influencing public
opinion to the side thus presented. The
documentary, on the other hand, pre-
sents the facts openly, freely, and un-
biased. In the documentary the inten-
tion is to give the true story, letting the
audience make its own decisions.

To some critics, a documentary is a
cross section of the subject depicted.
Some believe that a documentary ceases
to be a documentary when shots are re-
hearsed, posed, or in any way “set up”
for the camera. News reels are an ex-
cellent example of this type of docu-
mentary. However, many scenes in
some of the best documentaries have
been posed and rehearsed. And news-
reels can be edited to show only a cer-
tain side of an event or situation.

In modifying this point of view, it
can be said that a documentary at least
makes an attempt to show the subject
as it really is, stripped of all its glam-
our, color, and artificiality. Probably
no man could plan, or afterwards edit,
a film of this nature which would not in
some small respect at least be biased.
Given a subject upon which to work up
a documentary treatment, ten men
would have ten different viewpoints,
ten different films. It would seem that
the best documentary of the lot would
be the one that presented the subject
in all its aspects most nearly the way
the public would like to accept it and
as they believe it to exist.

The propaganda film, on the other
hand might be called a sales film whose
sole pui’pose is to convert public opinion
to the side of the party making the film.
True facts are never shown, only those
favoring the cause will appear. In this
instance ten different men might work

out ten different treatments, but each
would tend towards influencing public
opinion in the same direction, the only
difference coming in the degree of force-
fulness with which each treatment puts
the argument across.

Public receptance, therefore, is the
scales on which these two types of films
are weighed. The effect on the individ-
ual is the final result, and the degree
to which he is influenced marks the suc-
cess of the film. An excellent example
of this co.ntrovei’sy is the March of Time
films which have received so much
comment. Since the start of the war
abroad many of the subjects have cov-
ered such topics as conscription, defense
legislation, army preparation, etc. To
one individual these reels are giving a
candid glimpse of just what is actually
going on. To the isolationist this same
reel is “w'ai- propaganda,” for he feels
every scene is merely an argument on
why this country should enter the war.
Yet to the interventionist the same reel
tends to show why this country should
stay out of the conflict. There are three
different reactions from the same film.
To one it is a documentary, to the other
two it is a propaganda film.

If a producer sets out to make a docu-
mentary of a subject but finds later he
has not presented all aspects of it, or
has emphasized some much stronger
than others, can the film be called a true
documentary? If so, then what is the
dividing line between the two classifica-
tions?

In the case of a film such as the
March of Time, if all the sides are pre-
sented fairly and equally, and the result
is a true record of the subject, the film
can be classed as a true documentary,
regardless of how an individual may re-
act to certain portions of the film which
play upon certain of his biased opinions.

• The United States Government re-
cently advertised for bids for 60,000
feet of 16mm. film stock for use in gov-
ernment’s Avar and propaganda films.

♦ ♦ ♦

• Claymcnt Public School, Claymont,
DelaAv'are, recently tendered James Mar-
AA^ell a year’s subscription to Home
Movie magazine in appreciation of his
services as opei'ator of the school’s
movie projector.

♦ ♦ ♦

• Univ. of So. Calif, educator recently
declared that more than 200 Junior Col-
leges and Ihiiversities are noAv produc-
ing their OAvn 16mm. neAvsreels Avhich
are screened regularly before student
assemblies.

oSeupd

331

PAGE 332

HOME MOVIES FOR JULY

Home Processinq Outfit

This home processing outfit was made
of monel metal (stainless steel) at a
cost of four dollars. This included labor
for cutting the two metal discs and the
necessary strips for side pieces and
spiral. The only work on my part was
fitting parts together and soldering.

The top and bottom discs are of 22
gauge monel metal and 14 inches in
diameter. The spiral strip is made of
24 gauge metal % of an inch in width
and is 25 feet in length, allowing for 3/^
of an inch between turns. The side
pieces are 22 gauge metal, 1 inch high,
for the tank section and '/2 inch in
height for the top section.

The spiral was “tacked” to bottom of
tank about every 4 inches with a spot
of solder. A metal tube, closed at one
end and tapered at the other, to take
a section of rubbei’ tubing, was soldered
on bottom of tank, as shown in lowei’
photo. Then holes were drilled from in-
side of tank into this tube — one hole
in each spiral separation as shown in
top photo. This facilitated filling or
emptying tank. Three short legs of
brass rod were soldered to bottom of
tank to complete the assembly.

REWARD FOR IDEAS!

IF YOU have an idea for a gadget, trick or
shortcut in filming, titling, editing or pro-
cessing home movies, pass it on to your
fellow cinebugs through these columns. If
your idea is published you will receive two reels
for your efforts. Extraordinary ideas will net
you a roll of film.

Ideas not published will be held tor future
publication unless they duplicate ideas pre-
viously received. Endeavor also to send along
photos or rough sketches illustrating your sug-
gestions. There is no limit to number of
suggestions you may submit.

Important: When submitting ideas, be sure
to mention whether equipment you use is 8mm
or 16mm, enabling us to promptly forward
awards adaptable to your use.

The tank may be loaded with 25 feet
of positive or pan film in the darkroom
by threading the film between the leaves
of the spiral. Ends of the film are held
in place of a small metal clip made of
monel metal. The cover is placed on the
tank and sealed with a strip of black
photographic tape wound around the
seam. Processing may be carried on in
light by time and temperature method.

As previously hinted, solutions are
run into the tank by gravity by means
of rubber tube and are emptied the same
way. A half gallon of solution is all
that is required. Not shown in the
photos is a small light-proof air vent
which I have added to cover of tank
to facilitate filling and emptying of so-
lutions by gravity method.

This compact processing tank is par-
ticulary useful for developing home-
made titles shot on positive film.

— William Peters.

Oxidation Preventive

Rapid spoilage of photographic devel-
oping solutions by oxidation is common,
annoying and expensive. The usual
method for reducing such loss is by re-
peated transfer of the solutions as they
are used up to successively smaller bot-
tles, so that there will be a minimum
of air between the liquid and the stop-
per. Such transfer is a nuisance and
requires maintainance of a stock of bot-
tles varying in size, each kept scrupu-
lously clean, ready for filling and label-
ling.

A layer of cheap mineral oil an eighth
of an inch deep will float on the top

of developer in any bottle, will prohibit
this destructive oxidation, and will ad-
just its level according to the volume
of unused solution. Developer may be
removed from below the oil or added
under the oil by such a siphoning ar-
rangement as shown. Developer may be
induced to rise in the glass tube A and
overflow into any container by blowing
into tho-glass tube B. For such blowing,
a cheap atomizer bulb may be plugged
in to the B tubes of any number of such
units, one after the other, and used to
increase the air pressure over the de-
veloper. Unplugging the atomizer unit

quickly releases the pressure and stops
the flew. The only air -developer contact
is in the tube A and is of negligible
area. It is good technique to dry off
the open end of tube A after removal
or addition of solution, but otherwise
there is nothing to wash, wipe, move or
label.

— Lorus ]. Milne.

Filmviewer

Pictured here is a fllmviewing device
which I made for my 16 mm. editing
board. The square wooden box “A”
houses a small lamp and two flashlight
batteries. (These could be replaced with
small candelabra socket, 7-watt lamp,
and wiring for use of regular 110 volt
current) . Lamp furnishes illumination
for film which passes between rewinds
in the film track “B.” Image is magni-
fied through the lens “C” which is
mounted on hinged arm as shown, per-
mitting tilting back when inserting film
in track. This entire assembly including
the track was fashioned from light
metal. Between the lamp and frame

HOME MOVIES FOR JULY

PAGE 333

c I n WO

opening in track or film gate “B” is a
small piece of frosted celluloid which
diffuses light from lamp and improves
illumination of film.

The box and its attendant apparatus
are mounted on a post “D” hinged to
metal base “E” and this is securely
mounted to editing board over the film
splicer. When a splice is to be made,
the viewer is tilted back, as shown by
dotted lines in drawing.

The magnifier may be made from a
piece of metal or paper tubing in which
is inserted a reading lens obtainable
from most dime stores.

— Owen Wibon.

Pilot Light

The lamp brackets ordinarily sold for
use on domestic sewing machines may
be adapted to most any 8 mm. or 16
mm. projector for use as a pilot light,
as shown here. These brackets are avail-
able for about $1.50 at sewing machine
or department stores. In most instances

they may be wired directly to the pro-
jector circuit, thus eliminating necessity
for an extra wire leading to the wall
plug. Method of attaching to projector
base will depend upon make of projec-
tor, but in most instances only drilling
of tw^o holes and the use of two bolts
is all that’s required.

— L. S. Frierson. Jr.

Camera-Pod

Pictured here is a one-legged tripod
made from an old bamboo rug pole.
The pole was cut to a height equivalent
to eye-height when the camera is
mounted upon it. A heavy angle iron
is bolted to top of pole in which a hole
is bored to take a quarter-inch bolt for
attaching camera to the support.

Below the camera mounting about 10
inches a hole is drilled in the pole and
a leather shoe lace inserted and tied
into a loop to form a convenient means
of carrying the camera-pod. The gadget
is completed with the fitting of a rub-
ber crutch-tip at the end of the pole.

R K 8 H 0 P

Not c.nly does this camera-pod facili-
tate smoother panning action but it also
enables me to get shots of events over
the heads of crowds. To aid in making
shots with the camera held up over the
heads of spectators, I have added a
remote control to the camera-pod pivot-
ed on the camera base, as shown here.
The lever presses against the camera
starting button when moved by the cord
leading from end of lever to hand of
operator.

■ — Bruce E. McMiUin.

Timely Suggestion

Vacation movies are often made on
long trips Avhere high temperatures are
encountered. Most film will stand any
normal outdoor temperature but emul-
sions show definite deterioration when
subjected repeatedly to temperatures
such as are found in closed automobiles
exposed to the direct rays of the sun.
Since many movie makers carry a sup-
ply of film in their cars the problem of
protecting it is a real o.ne. It need
not be.

The wise amateur can store his sup-
ply of film in one or more of the wide-
mouthed vacuum bottles available at
low cost. A quart bottle will hold fif-
teen 50-ft. rolls of sixteen or double
eight film, removed from the cartons but
left in the metal cans. Even cartridges
(both 16 and 8mm j will slip into the
quart bottle. The half gallon bottle
will hold many 10-ft rolls of 16mm so
that no movie maker need expose his
film to excessively high temperatures.
Gallon jugs are not satisfactory for this
purpose. They are usually insulated
)vith cork and absorb heat much more
quickly than the vacuum type glass
lined bottles.

After packing a supply of movie film
in vacuum bottles the user should exer-
cise judgment in removing it. I have
found the following an easy and practi-
cal procedure. Each evening I open the

tricLd und
sliort cuts conb^duted

C^ineLug.s

bottles so that whatever heat has leaked
into them can escape into the cool night
air. Before closing the bottles in the
morning I load my camera. During the
day I remove a film with haste so as to
minimize entry of hot air. After ex-
posure I slip the film into its can and
place it in another vacuum bottle until
I reach a place where I can send it air-
mail or at least by train to the nearest
processing station. Although one can
keep the results of several weeks of
“shooting” in these bottles with litt’e
deterioration of the film, it is wise to
follow the film manufacturer’s instruc-
tions to return film for processing as
soon as possible after exposure.

Rus.‘>eU A. Dixon

Sound Outfit

For less than one dollar I was able
to arrange and house my sound outfit
in two compact units. The sound equip-
ment I use for playing records while
projecting pictures consists of an inex-
pensive record player, a radio oscillator
coupling, and small portable radio which
serves as speaker and amplifier. These
are arranged conveniently in two inex-
pensive suit cases as shown in photos.

Top photo shows record player, radio

• Continued on Page 344

PAGE 334

HOME MOVIES FOR JULY

You can save on film —

get better shots!

When yon have the new G-E to guide your
camera, yon come back with pictures, not
excuses, ^’ou get correct exposure every time
— thriiling color, sparkling movies or stills.
You'll appreciate its universal calculator — its
one-hand operation — its supersensitivity in
dim light, using the accurate incident-light
method. You’ll be delighted with its unfailing
accuracy, and its sharply directional quality
that fits movie or still camera — protection
from loss of shadow detail or color. Get the
new G-E and get more for your money !

Take a tip from a big
studio: "Every cameraman
at 20th Century-Fox uses the
G-E exposure meter," says
Daniel B. Clark, Executive
Director of Photography.

rome

• Continued from Page 321

drenched regions of this
tropical country. As we
were hundreds of miles
from the Canal Zone, there
were no stores where we
might purchase film. An
ample supply, therefore,
had to be brought from the
States. This was packed
especially for the tropics
and then sealed in metal
containers. It is not the
heat of the tropics, but the
sticky, humid atmosphere
that so quickly deteriorates
color film.

We carried two model 70-
D Bell & Howell cameras
with turrets completely
lensed with one-inch, wide-
angle, and telephoto lenses.
We also brought along two
sturdy tripods and these
were used in making prac-
tically every shot, the cam-
eras being attached to them
almost continuously.

We began to photograph
the Quetzal legend long be-
fore we reached the summit
of the mountain ; the mules
carrying o u r equipment
and supplies had gone
ahead with the guides, and
we, enchanted with the
beauty of the forest, began
to make sequence and atmo-
spheric shots for our pic-
ture. In all this bewilder-
ing green mansion of wild
orchids, immense trees and
spectacular tropical vines,
one had to use utmost re-
straint to keep from expos-
ing the entire film supplv
on incidental shots. We had
planned, of course, to. film
trees, insects, the wild or-
chids, and the festoons of
hanging moss and to edit
these shots into our film in
a sort of chromatic cine-
montage to convey the im-
pression we received of this
leafy labyrinth of the cloud
forests.

In a clear space on the
edge of the forest we built
0 Li r little palm - thatched
house. Our earlier experi-
ence in Honduras taught us
how to build to give us the
safeguards against all ele-
ments of the tropic high-
lands. AtH i 1 1 1 e p a 1 m -
thatched annex was added
to serve as my field labora-
tory. Here I could develop
short lengths of black and
white film to check on ex-

posure and the functioning
of our cameras. From our
black and white film tests
we were able to calculate
exposures for Kodachrome.
This precaution was neces-
sary because whatever Ko-
dachrome footage we ex-
posed, we would not see
screened until the expedi-
tion was ended and we were
back in New York.

In addition to the pre-
cautions already mentioned,
our supply of un-exposed
film was kept buried in
boxes of rice. Rice, we
found, absorbed much of
the humidity that hung like
un-shed tears in the atmo-
sphere. After film was ex-
posed, it was returned to
the metal containers; but,
unlike the precautic.n neces-
sary with un-exposed film,
the tins were not sealed
since to do so would cause
the film to “sweat” within
the container, mildew, and
ruin the emulsion. Instead
the cans of film were placed
in a small wooden box into
which had previously been
placed a thimble full of si-
lica jell. This chemical, re-
sembling chipped glass in
appearance, absorbs mois-
ture ten times its own
weight. With the box sealed
against outside moisture,
the silica jell easily took
care of the moisture con-
tent of the air within the
box, and as a result, every
roll of film we exposed on
this expedition was unaf-
fected by the varying cli-
matic conditions we en-
countered during cur stay
in Panama and our voyage
home.

When sudden and always-
to-be-expected rains came
to add more humidity to the
atmosphere, we were ob-
liged also to take the same
precautions with our cam-
era lenses, sealing them in
the wooden box protected
by silica jell.

On such days when we
were able to use cur cam-
eras, shooting had to be
done in the morning hours.
For regularly at eleven
o’clock each day, thick,
moisture-laden clouds gath-
ered overhead. By one
o’clock they began to de-
scend towards earth, and
by three the whole forest

would be blanketed, ob-
scured as if by a thick Lon-
don fog.

We endeavored to hold to
our prepared shooting
script, but new and inter-
esting things continually
occurred to attract our
camera eye. Soon we heard
the song of the Quetzals.
We could barely see them
in the distance ; but no lens,
no camera operator, is fast
enough to catch the flash of
green as the Quetzal, per-
fectly camouflaged by na-
ture to blend with the col-
orful forest, cries out and
then disappears into the
verdure of its green man-
sion. We must wait until
we approach at closer
range.

As we proceeded through
the forest toward the lair
of the Quetzals, light con-
ditions were ever changing
as we emerged from dense
tropical growth into the
sunlight and then back
again. As the cameras must
be prepared for shooting
upon an instant’s notice,
whenever one or more of
the birds might appear, it
became our constant duty
to check the light with our
Weston meter and re-set
our lenses. In view of this,
it is remarkable that we
were able to get the reallv
good exposures that we did.

The variety of green col-
ors of the foliage was be-
wildering, making it all the
more difficult to detect a
Quetzal even when its song
would reveal its presence

OPPORTUNITY!

Union Steel Products Com-
pany, Albion, Michigan, desire
to have some scenes of bakeries
filmed in 16mm. Kodachrome.
They wish to engage the serv-
ices of reliable amateurs quali-
fied to photograph scenes ol
good quality for them in the
following cities:

San Antonio, Texas
Houston, Texas
Charleston, W. Va.

Baton Rouge, La.

Mobile, Ala.

Meridian, Miss.

Atlantic City, N. J.
Denver, Colo.

Portland, Me.

Claremont, N. H.

Interested amateurs should
communicate with C. D. Daven-
port, Advertising Manager, Un-
ion Steel Products, Albion, Mich.

HOME MOVIES FOR JULY

PAGE 335

Ij perhaps 25 or 30 yards
away. Birds of many kinds
were everywhere : Toucans,
with g-reen plumage and ri- ;
diculous beaks chattered in-
cessantly. Motmots chased
one another from tree to
tree. Hummingbirds danced
in midair before our cam-
eras, teasing us to train ^
our lenses upon them, then |
fled as we were about to i
take a light reading or to
set the focus of our lenses.
Tribes of white-faced Ca-
puchi monkeys swept
through the trees like [
hordes of trapeze artists.
Howling monkeys filled the
air with their raucous cries.
All at once, it seemed, we
, discovered the secret of the
I Quetzal^ — where and how it |
fed, which offered the one
opportunity to film it. One
day, luck — great luck, with-
out which few good pictures
are ever made — gave us on-
portunity to make many
clear shots of the Quetzals
at fairly close range. Trek-
king through the forest we
came unon a lovely male |
bird sitting upon a low j
branch flicking its colorful
long tail as though posing
especially for us. There was
little time to admire its 1
body of iridescent green, [
the yellow beak, the up-
standing crest, or the blood-
red breast, the black wings
with metallic sheen, and
the long, shimmering green
tail plumes that flowed
from its body. It was bet-
ter to capture this rare
sight on film to be viewed
more leisurely on the
screen.

Quickly a light reading
was made. Our precious
subject was focused upon
the ground glass of the
finder ; then the camera was
set in motion and we held
our breath fearful that the
whirr of the camera motor
might frighten our bird in-
to flight. Almost silently my
wife re-loaded the first cam-
ei’a while I took the other
from her and trained it up-
on the Quetzal. Shots were
made with the one-inch and
the telephoto lenses. Then
all too soon our subject lift-
ed its wi’->gs in flight and I
was lost in the depths of |
the forest. !

But we had found the !
feeding ground of the Quet-
zals and returned again and
again until after many days ,
we had exposed many him- ^
dreds of feet of film on the

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I>AGE 336

HOME MOVIES FOR JULY

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several Quetzals who fre-
quented there. Eight
months quickly passed as
we continued filming in oc-
cordance with our script.
And no day passed that we
did not offer a silent prayer
that each foot of film was
accurately exposed and fo-
cused. Any movie maker
can readily imagine the
anxiety one suffers having
to wait months before be-
ing able to see the results
of so precarious a filming
undertaking. But we kept
our film dry and sent it off
to the laboratory in New
York as soon as there was
enough exposed to warrant
making the trip back to ci-

vilization whence we could
ship it by beat.

Months later when we re-
turned to New York, our
first stop after leaving the
boat was to the projection
room of the Bell & Howell
agency to whom we direct-
ed our films tc be sent.
With bated breath and pal-
pitating hearts we took our
seats in the darkened room.
Our hearts skipped a beat
as the first scene flashed
upon the screen — sharp and
clear. The Kodachrome had
come through the tropics
unharmed. We had calcu-
lated exposure right on the
nose! And focus was sharp
too. But wait! Was this

to soften a disappointment
to come? Had our friends
edited the film with the bet-
ter shots placed at the be-
ginning of the reel as a sort
of courtesy to us?

It seemed we held our
breath throughout the
screening in anticipation of
this. But when the last
scene passed through the
projector, we sighed deeply
with relief. Most all of the
scenes were normally ex-
posed and focused, thanks
to the precaution we took
in checking exposure and
focus before each shot. Our
quest for the Quetzal had
ended successfully.

5oun

• Continued from Page 324

and unhappiness: have

created a growing national
hysteria and dissension
which are tending to de-
troy the greatest heritage
the American people pos-
sess— confidence in them-
selves.

“It is then of consider-
able interest and impor-
tance to find in the heart of
our country, a group of
people who have managed
to keep their individuality,
their happiness, and above
all else — their self reliance
and confidence in the fu-
ture !”

Then follows a succession
of travel shots taken from
a moving automobile show-
ing the paved highways and
beautiful country leading to
Sugar Creek Valley. And
when the pavement ends, a
fine gravel surfaced road
leads into the heart of the
valley, flanked on either side
by green meadows, comfor-
table farms backdropped by
timbered hills, and here and
there a stream threading
lazily through the country
side.

To introduce the inhabi-
tants the following sequence
opens with a closeup of a
tolling bell rocking leisure-
ly in the belfry of the coun-
try church. Below in the
courtyard, the people are
arriving by automobile and
buckboard, simply dressed
in gay ginghams, the men
folk in shirtsleeves, Bibles
tucked under arms.

Then we are showh the
countryside where these

people live and toil and play.
Neat and orderly fences de-
fine one man’s farm from
his neighbor’s. In the fields
are well fed cattle, lending
evidence to Mitchell’s com-
mentary telling of lack of
■want in this seeming land
of plenty. An unhurried
stream flowing gently be-
tween tree-lined banks sug-
gests nature’s metronome
by which the tempo of life
in Sugar Creek Valley is
tuned.

The picture proceeds on-
ward to show the homes of
the inhabitants, built from
durable materials found in
the valley. The people are
introduced, not in any
staged episodes marked by
acting or mugging, but in
simple scenes showing them
in leisure hours about their
homes. A subtitle at this
point tells of “a daily life
that is steady, happy, delib-
erate, but unhurried . . .’’

We are taken inside these
homes where we see the
household preparing for the
day’s routine — the menfolk
shaving; the mother busy
about the sturdy wood-
burning range making
breakfast ready. The fam-
ily is called to table and af-
ter a brief prayer of grace,
eating begins. All of this
gees on as natural as though
Mitchell was not present
with his camera. Indeed he
must possess unusual direc-
torial abilities in order to
have made his subjects car-
ry on without once looking
toward the camera or dis-

playing any consciousness i
of it. , (

The picture follows the
men after breakfast into ; ji
the fields where they plow i
or cut timber. That these j 3
people find much leisure
time in which to hunt or f
fish is also shown. There
is a beautiful scene where a [
stream widens into a placid !
pond with a swinging foot- i
bridge overhead, and a fish-
erman casting into the
water with a bamboo pole. ;

At home housewives are ||
shown about their daily ii|
chores, ironing, churning, |i.
or canning vegetables and 1
fruits. And there are re- ®
vealing shots of the cellar
where neat wooden shelves
are stocked with preserves
for the winter months, or
stacked with bushel baskets
of potatoes, onions and oth-
er durable vegetables. '
Comes Saturday, and life
in Sugar Creek Valley
quickens. Labor in field and
home comes to a halt. Busi

FILMING THE ARMY

A special communication re-
ceived from Major General Rob-
ert C. Richardson, Jr., of the
War Department, advises that
the War Department has no ob-
jection to photographs or mo-
tion pictures being made with-
in unrestricted areas of military
reservations by those amateurs
who care to make pictures of
their friends and relatives now
in service.

All other photographic pro-
jects, however, such as photos
or motion pictures taken for
use in a commercial venture
should be handled through the
local Public Relations office.

ORDER FOR SUBSCRIPTION

[ome Movies Magazine

12 MONTHS FOR $2.00 IN U. S.

In Canada, $3.00; Foreign— $3.00
SPECIAL OFFER: 3 Years for $5.00 in fha U. S.

fdE MOVIES

) Sunsef Blvd. ^

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home movies for JULY

PAGE 337

ness is combined with
pleasure in a trip to the vil-
lage comprised of two or
three country stores. The
farmers arrive with wives
and families, bringing buc-
kets of eggs or cans of
cream or butter to be ex-
changed for merchandise.
The wives concern them-
selves with material for
new curtains, supplies of
staple groceries, or perhaps
a new gingham dress, while
the men give attention to
new shoes for the horses or
perhaps some new item of
farming equipment.

, With Dusiness completed,
I the rest of the day is given
Ito visiting with other
. neighboring farmers who
also have come to town.
Mitchell has captured some
i rare shots of these folk, de-
! picting them as naturally as
i you would see them should
I you visit Sugar Creek Val-
ley. There’s the group leis-
urely smoking and discuss-
ing current events without
the gesturing and raucous
spieling which so often
characterizes discussions
between high strung city
folk. Two young fellows
play “catch” while another
group play horseshoes.

In the shade of the store
porch two men, surrounded
by kibitizing neighbors,
play a game of checkers on
a barrel on which the de-
sign of a checkerboard has
been crudely etched with a
pencil. Bottle tops serve as
checkers. Toward evening,
singing begins. An aged fid-
dler saws a lusty tune while
a young chap beats accom-
panying tempo on his gui-
tar. A piano is moved out
of doors into the square and
all who have come into town
— men and women and the
children — gather around
and raise their voices in
song.

The picture ends in a fit-
ting sunset shot showing a
couple riding out of the
scene toAvard the descend-
ing sun. In the final frames,
a shot of Old Glory waving
in the breeze is superim-
posed over the sunset and
music of the recording cre-
scendos to the closing bars
of “America.”

Photographically, this pic-
ture is as near perfect as
any non-professional could
make it. Exposure and fo-
cus is needle sharp in ev-
ery scene. Interiors are not
only well lighted but artis-
tically so, and exterior

tWtKY BOIEX CAMSHA AMD PMAJtCTOH
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rare jewels, so is the BOLEX out-
standing among fine cameras.
BOLEX is the true gem of the ama-
teur motion picture industry. Built
by craftsmen who excel in their field,
these fine cameras deliver flawless
results that render extreme pride in
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easy to operate, and strictly profes-
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micrometer focusing mount for 16, $50.00. 12.5mm Velostigmat,
Wollensak f/1.9 Lens in micrometer focusing mount for 8, $42.50.
Wide angle and telephoto lenses quoted on application for both
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PAGE 338

HOME MOVIES FOR JULY

STEPHEN DEUTCH
Famous Photographer, says:

4 Reasons

twh V

wny

I chose this

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“QUICK-SET”

WHITEHALL SPECIALTY COMPANY
1739 DIversey Pkwy. Chicago, III.

shots, especially those of
the people pictured in activ-
ities about the country
store, were excellently
lighted with reflectors.

Dissolves were judicious-
ly used to divide sequences
and each sequence was
thoughtfully planned and
built up in a succession of
shots from long or medium
to closeup. The editing is
such, there is never a doubt
as to the meaning of a se-
quence or about any action
o.r object within a scene.

The recording is a high-
ly commendable job, too. It
consists of one two-surface
16 inch disc cut at 33-1/3
revolutions per minute. Re-
cording of music is a work
of art — not too loud and
adroitly faded where speech
is to follow. We regret that
space does not permit set-
ting down here the com-
plete text of the commen-
tary which closely follows
the theme of the opening
title quoted in an earlier
paragraph.

In Mitchell’s letter
which accompanied his film
he tells of his inspiration
for the picture and of his
wbrk in filming, editing,
and making the recording
for it.

“This last summer was
rather an upsetting one for
the whole world,” Mitchell
states. “The fall of France,
the battle for Britain, the
uncertainties of our own
Nation’s course together
with the usual pressure of
modern civilization was
enough to make one wish
for some place far away
from all the tension, news-
flashes, and the rising cre-
scendo of calamity. The na-
tural result w'as for me to
think of Sugar Creek Val-
ley which my business
caused me to frequent regu-
larly some years ago . . .
most of all I remembered
the iDeace and contentment
of the people, their inherent
courtesy, and their certain-
ty of the future.

eAc^uin^

• Continued from Page 322

“The actual shooting of
the picture was not compli-
cated. It was much like
Topsy — fit just growed.’
The people were friendly
and obliging and the most
natural before the camera
of any people I have at-
tempted to photograph. The
cutting, editing, titling, and
recording the musical back-
ground and narrative was
j list ordinary routine work.
But the biggest thrill of all ,
was when I took the fin-
ished film back to those peo-
ple and screened it for them
in a little country school
house. I had to give three
successive shows that night
so that everyone could get
into the school house and
see the picture and, of more
importance to them, to see
how they and their neigh-
bors looked in motion pic-
tures.”

All of which would be
enough to fill any amateur’s
cup of satisfaction brim-
ming full.

a park bench. They are en-
gaged in animated conver-
sation. After just enough
of this to convey to your
audience that they must be
great friends, have the one
on the right gaze away for
a moment, whereupon the
person on the left reaches
into his companion’s pocket
and lifts his watch. After
this little episode the per-
son on the right turns to
his friend again. They both
smile amiably and continue
their chat.

If you still have enthus-
iasm and film at this point,
here are a few more sug-
gestions that are always
good for laughs. For in-
stance, follow a caption like
“The people spend their
leisure time at home in in-
tellectual pursuits,” photo-
graph the line waiting to
get into your nearest thea-
ter. The caption, “Massive
homes predominate in the
residential district,” has
possibilities which by now
you prxvbably recognize.
Drive around to your slum
district, if there is one, and
go to work, filming three
or four of the shabbiest
houses you can find.

As a fitting climax pho-
tograph the caption, “Noble
citizen expresses opinion of
Plattsville.” Then take any
member of the family who
has been left out of the
filming and shoot a close-up
of him emitting a violent
Bronx Cheer. A closing
title, “And so with this
thought we say, “Farewell
to Plattsville’,” will finish
your masterpiece if the

Chamber of Commerce
doesn’t get it first.

The foregoing gags will
suggest others that are
adaptable to your city or
town or to some of your
friends whom you’d like to
make the object of your
kidding. Comedy, as a rule,
is often a difficult subject
for amateur filmers, but
handled in this manner suc-
cess is assured.

FILTER FACTOR COMPENSATOR

Normal

Exposure

Without

Filter

FILTER FACTOR NUMBERS

2 5

f: 2 8

2,3

EXPOSURE WITH

FILTEF

3 2

2.8

2 3

2.2

3.2

2.8

2.5

2.3

4 5

3,2

2.8

2.3

2.2

5 6

4.5

3,5

3.2

2.8

2.5

2.3

6 3

5.6

4.5

4.3

3.2

2.8

2.3

2.2

6.3

5.6

5,1

4.5

3,5

3.2

2,8

2 5

2.3

9 1

6.3

5.9

5,6

4 5

4.3

3.2

2.8

11 3

9.1

7.2

6.3

5.6

5.1

4.5

3.5

3.2

12 5

11 3

0 1

8.5

6.3

5.9

5,6

4.5

4,3

12.5

11 3

10.

9.1

7.2

6.3

5.6

4 1

4 5

IS.

16.

14.

12,5

11.5

10.

9.1

7.2

6 3

25.

22.

20.

18.

16.

14.

12.5

11 3

9.1

•

PAGE 339

home movies for JULY

WtL ADVANCED

merd . . .

• George W. Cushman

IVow Head Man

George Cushman, whose
interesting and instructive
articles long have featured
the pages of Home Movies,
has lost his amateur stand-
ing. Not by doing anything
rash — rather fortune smiled
upon him. Early in June,
Iowa State College at Ames,
Iowa, called and invited
him to take over the duties
as head of its Photographic
Service Department. No
hesitancy marked George’s
acceptance, and today he is
major domo of a large and
well equipped photo labora-
tory making pictures for a
living.

His new responsibilities
will, in no wise, interfere
with his regular contribu-
tions to Home Movies. In
fact, his legions of readers
may look forward to many
more illuminating articles
and discussions.

Rights Protected

Vigorously opposing leg-
islation that would compel
operators of 16mm projec-
tors in public showing of
films to be licensed, same as
theatre projectionists, mem-
bers of the Tri-City Cinema
Club of Rock Island, Illi-
nois, proved victorious.

The proposed bill, due to
the club’s persistent defense
in favor of the amateur has
been re-drafted, and has
since been passed by the
city fathers. Rights of ama-
teurs were safeguarded in a
provision of the ordinance
which stipulates: “Provid-
ed, however, that this ordi-
nance shall not apply to the
operator or operation of
any projector in which sub-
standard, non-inflammable,
safety film is used.’’ And to

insure complete safety, the
provision: “Also the city
electrician shall inspect all
electrical apparatus used in
connection with the projec-
tion of pictures at any pub-
lic place or any public
gathering.”

This ruling is satisfac-
tory, the Club states and it
is probable that the model
ordinance Avill be brought
un for adoption in Moline
and Davenport, other cities
in which there is a large
Tri-City Cinema Club mem-
bership, in the near future.

Club Filming

How great an influence I
amateur movie clubs can be
in community life is graph-
ically demonstrated in the I
report of Ralph C. Corsley, I
President of the Am -Mo !
Club,Tulsa, Oklahoma. Long
active in cooperating in
various phases of the city’s !
civic program, the Club
under sponsorship of the j
Chamber of Commerce, is ‘
currently filming a docu-
mentary picture titled
“Tulsa — Oil Capital of the
World.”

More complete informa- j
tion anent this ambitious
undertaking may be expect- j
ed in subsequent issues.

Civic Club Movie

News comes from Adeline
Boyle, Secretary of the Val- j
lejo Movie Club, that the |
organization is busily en-
gaged making a civic club
movie. While no continuity
was prepared in advance, a
list of interesting and pic-
turesque spots in Vallejo, :
Calif., was posted on the j
Club bulletin board and
members were invited to
choose assignments for the
particular spots they de-
sired to shoot. Each mem- ;
ber was requested to shoot
ten or 15 feet of 8 mm. film t
of the subject of his choos-
ing.

When all shots are com-
pleted, they will be joined
together with appropriate
titles. The finished film,
which is expected to be rich
in interesting scenes of the
community’s scenic, histor-

Gorgeous full-color “stills" — with
KODACHROME — on your own home
screen . . . surprisingly inexpensive

Anv owner of a Kodak Bantam //4.5,
or of a 35-nnn. camera (24x36-mm.
picture size) such as Kodak 35, can
make Kodachrome "stills” at sur-
prisingly low cost. itli Kodachrome
used in cameras of these types, the
initial cost is the whole cost — your
finished transparencies, in sliiles all
ready to project, are paid for ^vhen
you huy your film. Ask your dealer . . .
Eastman Kodak Co., Rochester, N. V .

FOR PROJECTION . . . KndasHde
Projector. Model 1 — a Pinall. efli-
cient, inexpensive home projector.

with a
miniature
camera

These Kodaks for color
and black-and-white; reasonably priced

>' ■>

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KODAK BANTAM f/4,5

So small it fits in the palm
of your hand. 1* ast, versatile,
easy-to-operate. A precision
miniature.

KODAK 35 f/5.6

Comjtact.sinart.convenient-
to-carry. ,\i 80 available:
Kodak .S5 //4..S; Kodak 35
/ 3.5. with or without cou-
pled range Under.

KODACHROME FILM Eastman’s film for gorgeous full-color "stills"

NEW

DE LUXE TITLE LETTER

Here is something brand new to add sparkle
and novelty to your movie titles . . . Famous
Knight Meta! Letters and a beautiful Wood-
grain Background.

DeLuxe Sets are available in:

Ail Knight DeLuxe sets of metal letters are
attractively packed in a reinforced cardboard
box with an imitation Woodgrain cover that
makes a perfect background for your titles.
Area for title background is 9^'xl2".

Classic or Script $9.00

Postpaid for cash with order.

Broadway or Modern Block . $7.00
Postpaid for cash with order.

Specify whether you wish black
or white letters

Every DeLuxe set contains 4 ornamental cor-
ner pieces, a fine pair of tweezers for easy
handling of the letters and a tube of rubber
cement for fastening letters to the background.
Letters can be used over and over again, as
they are easily removed and the cement rubbed
off with your finger tips.

IT'rite for Samples and Descriptive Circular

KNIGHT & SON, INC. Box B, Seneca Falls, N. Y.

PAGE 340

HOME MOVIES FOR JULY

A Tip from HOLLYWOOD

for Personal Movie Makers

IN HOLLYWOOD, they know it takes
the finest equipment to make the fin-
est movies. Studio experience has taught
producers, directors, cinematogra-
phers, and stars that the name Bell &
Hou’ell marks the finest professional
equipment. So, lor liersoiuil movie equip-
ment, it was natural for them to choose

HOWELL

. . .and they found Filmo built to the same
high precision standards . . . built to give
projessional results with amateur ease.

That’s why most professionals use
Filmo for home movies. Their example,
surely, is a good one for you to follow.

Write for informative booklets on
any 8 mm., 16 mm., or 35 mm. motion
picture equipment that interests you.
Bell & Howell Company, 1825 Larch-
mont Ave., Chicago; New York; Flolly-
wood; Washington, D. C.; London.
Established 1V07.

ClneJ#^gj^QjO,

Cin« Velostymaf

PRECIStON-MADE

USE WOLLENSAK 8mm LENSES
FOR ’

i'VVOLLENSAK OPIlCAL CO., 543 HUDSON AVENUE, ROCHESTER, N. Y,

ic, business, educational and
cultural features, will be
used as a traveling film to
be sent in exchange to other
clubs.

Documentary

A highlight of the April
meeting of the Yakima
( W ash. ) Amateur Movie
Club was the presentation
of “Behind the Bale.” The
production, a sound -color
film of the hop industry,
was made by member Paul
Thompson. The 75 members
and guests including many
from the Wenatchee Cine

Club who brought along
and showed their organiza-
tion’s 1940 prize winning
picture, “Wenatchee Blos-
som Festival, 1940,” were
enthusiastic in their praise
of Thompson’s work.

Successful Debut

Although he suffered all
the agonies of a stage im-
presario awaiting the “first
night” of a big time picture
producer on the eve of a
“world pi’emiere,” the ini-
tial attempt of Johnny
Burke, Philadelphia filmer,
at industrial picture mak-

ing was a great success. His )
all-color production, titled j
“Lasting Luxury,” photo- f
graphed for Carlton Mills |
Company was shown at the |
recent Cloth Industry Show |
in Chicago. i

The film ran continuously |
for three days and not a |
splice broke. It is a 200 foot |
16mm Kodachrome produc- 1
tion and was titled by Frank
Heininger. The Daily News ®
Record, a clothing industry i
publication printed in New ;
York, featured a large ad- ;
vertisement and description j
of the premiere. |

'ocume^

® Continued from Page 330

m on

ow . . .

ili

enough to be of use. We
were working against time !

“When the Fair finally
closed, I had exposed 1,700
feet of Kodachrome. Some
scenes were badly timed,
but in the editing I man-
aged to eliminate the bad
spots. Editing requii'ed an
additional two weeks be-
cause I still had my regular
job to attend to during the
day.

“More than ordinary at-
tention had to be given the
continuity of this picture.
By this time there was talk
of showing duplicates of it
to outside audiences and
thei’efore every step had to
be clear pictorially and ex-
plained with titles from the
sifting of flour to the final
wrapping of the loaves of
bread. The same applied to
the Hostess Cake episode.
On many occasions it had
been necessary for me to
install photofloods inside of
the bakery machinery in or-
der to illuminate the work-
ing parts, or the bread and
cakes in progress of evolu-
tion, and this greatly en-
hanced the coloring of the
scenes whei’ein cakes and
cellophane wrapped prod-
ucts were shown.

“Weeks later, I turned
the edited and titled film
over to Mr. Marshall, se-
cretly feeling I could have
done a much better job had
I 15,000 watts of light in-
stead of 10,000 to work
with, and perhaps more
time. Mhv- Marshall was
highly pleased with the pic-
ture and after screening it
before the directors of the
company, Mr. Cedric Sea-
man, Director of Sales and

Advertising, convinced
those present of the promo-
tional possibilities of the
film and suggested dupli-
cates be made for this pur-
pose. Mr. Seaman gave me
authority to have a sound
track made for the film
composed of musical back-
ground and narrative — a
commission for which I had
hoped and planned — for I
had filmed the entire pic-
ture at sound speed, 24
fi’ames per second.

“Mr. Seaman wrote the
narrative and a local sound
studio was engaged to re-
cord the film. At this junc-
ture I felt need for adding
some intei’esting general
shots of the Fair at the be-
ginning as a means of es-
tablishing locale and at the
same time in order not to
bring the purely commei’-
cial element of the picture
too quickly upon the audi-
ence. We found a company
who had available a great
many 16mm color stock
shots of the Fair and the
best of these were pur-

chased and edited into my ■
picture. These scenes, inci- |
dentally, were on sound film «
and narrated by Alois Hav- i
rilla, and this led to engag- |
ing of his services as com-
mentator of the narrative |
for the rest of the picture I
in order that the voice A?
throughout would be the
same.

“Fifteen duplicate prints
w'ere made of the completed
picture which runs 800 feet
in length and these are \
booked five days a week in ;
public schools in fifteen
cities. One print is screened
twice every Saturday be-
fore the Wo n d e r Bread ;
broadcast, “Your Marriage
Club.” Notable is the fact
the picture has passed the
million mark in screening
attendance. Recently, at one j
broadcast, a record throng f
of 12,123 persons saw the
film screened at the St. .1
Louis Municipal Audito- , |
rium.” ^

And that, friends, is 1 1
some record for an amateur J'
made movie! :

• All Amateurs, whether subscribers
of HOME MOVIES or not, are
invited to submit their films to the
editors for review and helpful criti-
cism. Unless otherwise requested,
reviews of some of the films which
we believe would benefit other
amateurs will be published each
month.

Reviewed films will be rated one,
two, three, and four stars, and films
qualifying for two or more stars will
receive, free, an animated leader
indicative of such award. Detailed
reviews, with suggestions for im-
provement— if any — will be mailed
to amateurs submitting their films.

Exceptional films qualifying for
the distinction of the "Movie of the
Month" will be treated in detail in
a feature length article in a follow-
ing issue of HOME MOVIES. In
addition, a certificate evidencing
the award of "Movie of the Month'
and a special animated "Movie of
the Month" leader will be returned
with such films after review.

When submitting films for review
and analysis, please advise make of
camera, speed of lens, whether or
not tripod was used, or if you used
filters, exposure meter, or other
accessories.

HOME MOVIES FOR JULY

PAGE 341

The Reader

Critical Focuser

This reader would like
assistance from any cine-
bug who has built a critical
focuser for cine camera
lenses.

Dear Sirs: I have enjoyed
your fine magazine for sev-
eral years and hope you will
continue your policy of giv-
ing the advanced amateurs
encouragement in making
gadgets for their hobby. I
made a turret for my Bell
& Howell camera like the
one described in Home
Movies some time ago.

I would appreciate it if
some amateur would give
plans for construction of
some sort of critical focuser
for camera lenses.

—Ralph A. Neff,
Shadyside, Ohio.

Wants Scenes

Here’s opportunity for
several amateurs to help a
brother filmer out wit h
sale or exchange of needed
scenes:

Gentlemen; I should like
to swap or purchase shots
running from 6 to 10 feet
in length of each of the fol-
lowing subjects:

Statue of Liberty,

Lower Waterfront, N. Y.

Wall Street Buildings,

Golden Gate Bridge,

Dome of Capital,

Wash’n., D. C.

I will either swap scenes
made in the Ozarks, for this
footage, or I am willing to
pay a reasonable amount
for same. Also, prefer
these scenes to be shot at
sound speed of 24 frames
per second.

New Clnbs Fnrminq

And here are letters an-
nouncing the formation of
new cine clubs and inviting
interested movie amateurs
to join:

Gentlemen : I wish to
form a new cine club in
Dallas as the Dallas Cine

Club is now a private or-
ganization. Have contacted
several amateurs interested
in organizing a new club
and we would like to hear
from others. Membership
will be open to 8 mm. and
16 mm. filmers alike and
there is no limit as to num-
ber of members.

— Victor Duncan,

3809 Bryn Mawr,
Dallas, Texas.

Gentlemen : Am interest-
ed in organizing a new ama-
teur cine club in southwest
Los Angeles. Movie ama-
teurs residing in the area
south of Manchester Ave.,
between Western and Cen-
tral Avenues, are invited to
participate. Can get a small
auditorium for meetings
which is equipped with kit-
chen and facilities for serv-
ing luncheons. Both 8 mm.
and 16 mm. filmers are so-
licited.

— C. S. Flora,

42? West 106th St.,
Los Angeles, Calif.

Good Advice

Wit h the approach of
warmer weather, this read-
er’s letter serves as timely
advice for those who woidd
take their cine cameras
along on automobile trips —
which means practically all
of us.

Gentlemen : In the March
issue, I notice two readers
report (How I Keep My
Camera Busy department —
Ed.j on carrying a camera
in the glove compartment
of their cars. The practice
of keeping one’s camera al-
ways near is advisable but
— not in the glove compart-
ment! Due to the location
of this compartment it be-
comes very hot during sum-
mer months. In many in-
stances both film and cam-
era have been ruined fi’om
storage there. I, too, had
such an unfortunate experi-
ence. Now I carry my cam-
era in the trunk compart-
ment which is much larger
and only a relatively small

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I being used for color work? It’s because the
I Master has been designed to give you the same
i simple exacting control of color as it does for
black and white.

Note the “A” and “C” positions on the
! Master’s exclusive exposure dial. The space
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AVeSTON

PAGE 342

HOME MOVIES FOR JULY

The newest thing for movies . . !

STROBOSOUND

Ploys records up to 16” lolly syn-
chronized with yonr projector nt
oither 33 1-3 or 78 R. P. M’s. . . .

Now you can play narrative and musical recordings fully
synchronized with your pictures with STROBOSOUND turn-
tables. Connects directly to your radio which acts as amplifier
and speaker. Built-in stroboscopes on dual turntables assures
instant check-up and adjustment of speed with aid of built-in
neon lamps.

Your projector is also synchronized with STROBOSOUND by
means of a stroboscope, thus insuring constant speed of both
during projection of pictures.

Other features are: Heavy duty 110 volt 60 cycle turntable
motors; latest type tubular pickup arms; central control panel;
heavy duty carrying case covered in black leatherette; and
ample lengths of cable for ordinary use. Be sure to specify make
of your projector when ordering!

Price Complete

$149.50

Junior Model. Same features as above
except has single turntable

$98-50

All Prices F.O.B. San Francisco

Arthur H. Hurt

2125 - 23rd Ave. San Francisco, Calif.

portion of it subjected to
direct sun.

- — Len Marshall.

Humidificatiou

That eternal question —
to humidify or not to hu-
midify? ■ — is again in the
spotlight; and here’s an in-
teresting letter from a
reader setting forth his
findings :

Gentlemen : It is my opin-
ion from experience and al-
so from information I have
received from film manu-
facturers, that too much
stress has been put on the
humidification of movie
film, both in your magazine
and in others.

I have discovered by ex-
periment with films that
have been kept in cans for
several years, that these
films were much more in-
clined to scratches of all
kinds, probably from the
softened emulsion, than
those which have been kept
in cardboard containers
with no moisture whatever.
I have this proof in my pos-
session and will be willing
to show it to whoever
wishes to see it. Further-
more, these films that have
been kept in cardboard con-
tainers are quite piable

and have been kept away
from heat or extremely dry
places and seem to draw
whatever moisture they
may need from the air it-
self. They have been stored
in cardboard containers for
over three years now and
although in constant use
have accumulated no pro-
jector scratching or wear
whatever. Conversely, I
have film that I have care-
fully kept in humidor tins
and humidified at regular
intervals that show wear
very badly.

I am quite sure that some
of the “so-called experts”
will try to dispute these
facts, calling it “o v e r-h u -
midification,” etc., but I
have nothing to hide and in
passing this information on
to others I feel that many
feet of film otherwise lost
to wear on moisture-soft-
ened emulsion can be saved.
It is my opinion that film
kept in proximity to mois-
ture, no matter how little,
deteriorates, just as wood,
cloth or any other sub-
stance of like density.

NEVER BEFORE AT THESE

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American LensMakers Since1899

HOME MOVIES FOR JULY

PAGE 343

•TITLE TROUBLES-

By GEORGE W. CUSHMAN

IF YOU have any ques-
tions concerning titles or
title making, Mr. Cushman
■j will be glad to help you. You

‘I can address him in care of

;i this magazine or direct to

I his home address, 3425

i-j Witmer Parkway, Des-

i| Moines, Iowa. Include such

ij information as the type of

film and developer used,

I lights, exposure, etc. Send

! along a sample if possible,

I and don’t forget to enclose

! a self-addressed stamped

'll envelope if you wish a re-

li ply by mail.

I Q. Hoiv does one make a
title of black letters on a
f Kodachrome background of

H a sunrise? Coidd I shoot

i black letters through a piece

iji, of glass? If so, tvotdd the

j| sunrise be out of focus? —

j: M.C.B., Minneapolis, Minn.

il A. The practice is rather
I unusual, as most workers

•! prefer white letters. How-

,'i ever, black letters are as

readily obtainable. Yes, you
j| can use black letters on a

■'j piece of glass, as you sug-

jj gest. By using as large a

i|| piece of glass as possible

jll and placing it a good dis-

tance in front of the cam-
j| era lens, sharpness of the

I’ sunrise will be improved,

j»i Also, if you will close down
the lens as far as possible
you will receive better re-
sults, and focusing at the
hyperfocal distance will im-
' prove it still further, pro-
viding the letters are still
'I satisfactorily sharp.

You could also set up the
; title you desire with white

letters on a black back-
i ground and expose on posi-

i tive film. The film must be

I of the clear base variety

i and must be threaded in

I the camera with the shiny

j side towards the lens — just

: the opposite of ordinary

i' procedure. Expose the title

and develop in a contrasty
developer so that the back-
ground is a clear white and
j the letters are quite dense.

! When dry, thread this title

in camera together with the
unexposed Kodachrome
j film, emulsion sides togeth-

er, but with the shiny side

of the developed title film,
again towards the lens.
Then shoot your sunrise in
the normal manner. Inci-
dentally, if using a double
8mm. camera, after devel-
oping the positive film title,
do not split it, but use it
double width. If your cam-
era is of the magazine type,
this method cannot be em-
ployed. This latter method
will produce your scene and
lettering both sharp.

Q. Wlnj is it you seem to
print so few questions and
answers on Kodachrome
title m a k i n g. Isn’t there
much title work done in col-
or, or don’t you favor it? —
C.L., Covington, Ky.

A. This same question
bobs up quite often, and I
think we answered it once
before in this column. The
truth is, most of the ques-
tions concern black and
white titling probably be-
cause all the problems in-
volved in color titles are
likewise involved in black
and white except the choice
of colors ; and that, it seems
to me. is not a problem but
a matter of personal pref-
erence. Many questions con-
cern developing, and these
of course do not apply to
Kodachrome. But length,
wording, centering, expos-
ure, focusing, lighting etc.,
are the same with either.

Take for instance the
preceding question. It con-
cerns color. But if it per-
tained to black and white
film the answer would have
been the same. Also, it
seems that most Koda-
chrome filmers are now us-
ing one of the colored-base
positive films for their ti-
tles, or using regular black
and white film and then
tinting or toning it.

Q. I tvant to film a movie
within a movie, that is, set
up the screen in the living
room, and have the titles
and scenes flash on it. Can
it be done ivith my 8mm.
camera? — F.K.W., Con-
cord, N. H.

A. The titles can, most

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PAGE 344

HOME MOVIES FOR JULY

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CAMERA SPECIALTY CO.
50 West 29th St., New York

ESO-G

A New MONOCOLOR 8mm Emul-
sion for all double 8mm cameras.*

Prices include spooling and processing without addi-
tional charge.

ESO-G— A scarlet seml-orthochromatic film with full
anti-halo base. Recommended for exteriors only.
Projects a pleasing colorful picture — Ideal as sup-
plement for Kodachrome movies. $1.25 per spool.
$3.35 per three spools.

ESO-A— F Ine-grain, contrast seml-orthochromatic film
with anti-halo base. Recommended for exteriors
only. $1.20 per spool. $3.50 per three spools.

ESO-B— S uper-orthochromatic film, with full anti-halo
protection for use on exteriors and interiors. Over
twice as "fast" as ESO-A. $1.25 per spool. $3.65
per three spools.

ESO-C — Sepia ortho film, with full anti-halo base.
Projects as an attractive, warm amber. Excellent
supplement for your Kodachrome movies. $1.30
per spool. $3.70 per three spools.

ESO-D — Violet ortho film, anti-halo base. Excellent
for splicing Into your Kodachrome movies. $1.30
per spool. $3.65 per three spools.

ESO-E— S uper-speed panchromatic film, for dark ex-
teriors and Interior photography. Four times as
"fast" as ESO-B. $2.25 per spool. $6.50 per three
spools.

ESO-F — Gevaert super-panchromatic film, for dull
days and interior photography. Over twice as
"fast" as ESO-B. $2.00 per spool. $5.70 per three
spools.

*These emulsions available to single-run 8mm Univex

cameras also. Write for prices.

OUR GUARANTEE: ESO-S PICTURES unconditionally
guarantees each of these 8mm films. You MUST be
satisfied! ESO'S PICTURES authorize your dealer
to replace any film if you are not fully pleased with
your results!

ORDER AT TODAY'S LOW PRICES!
(At your dealer’s, or direct from ad).

ESO-S PICTURES

“Quality 8mm Service"

3945 Central Street Kansas City, Missouri

easily, and in a sense the
scenes can, too. Take mov-
ies of the screen being set
up in the desired place.
When it is set up, remove
your movie camera and re-
place it with a still camera
held in the same spot and
with the same lighting.
Make a still picture of the
screen and have it enlarged
(or reduced) to fit your
titler. When the print is
made, cut out the screen
area in the photo. This will
serve as a mask. In back of
the opening thus cut out
place a copy of the de-
sired title. A few flickers at
first with black or white
cards will give the appear-
ance of the projector start-
ing up.

Faking the scenes is a bit
harder, but can be accom-
plished by placing ordinary
still shots in back of the
mask in the titles. As the
camera starts, draw the
picture slowly from one
side to the other. This will
give the effect of a pano-
ram. However, make sure
there are no animate ob-
jects in the still picture
thus used, lest they expose
this bit if trickery.

If there are people in the
scene, or other animate ob-
jects, the easiest way would
be to actually use this bit
of film and not copy it. By
throwing in an under-ex-
posed shot of the projector
running now and then, your
illusion would be complete.
If you are using color film.,
the mask and pictures can
be colored with water col-
ors or oils.

To make the scene actu-
ally appear on the screen in
motion, a m o r e elaborate
set-up would be required,
and if you are interested
enough to go ahead and
build the necessary appa-
ratus, I shall be glad to
forward you the necessary
details.

Q. Fve been told that
most professional studios
make titles with the title
cards covered with glass. Is
this true. If so, why? —
F.G., Royal Oak, Mich.

A. Most titles that are
filmed under glass are those
in which the three dimen-
sional shadow effect is de-
sired, although this effect is
now accomplished more of-
ten in hand lettered titles
by delicate shading by
skilled lettering artists.

Shooting title cards un-
der glass can only be of in-
terest to the amateur where
the title card is of light
weight, thus having a ten-
dency to curl, and of course
this would apply to large
title cards. The placing of
a glass panel over such
cards would serve to hold
them perfectly flat. Great
care must be taken in such
instances to insure against
glass reflecting light back
into the lens.

Q. I have several good
scenes of the ocean made on
Kodachrome with my 8mmi.
came7’a which I should like
to use as moving back-
grounds for titles. How may
I do this and what color
shoidd the title letters bel
— J.L.L., Corvallis, Oregon.

A. To use these scenes
successfully as moving title
backgrounds is a feat too
difficult to consider when
one lives so near the ocean
that the scenes could be re-
filmed and the title text su-
perimposed in a more sim-
pler manner.

In order to use your pres-
ent footage, it would be
necessary to employ a meth-
od of background projec-

tion as professional studios
do, projecting the scenes
from the rear on a ground
glass or translucent screen
on which was lettered the
title text. The difficulty here
is that it is well nigh im-
possible with 8 mm. or 16
mm. equipment to synchro-
nize the movement of pro-
jector and the camera.

(Experimental

• Continued from Page 333

oscillator, and pilot light in
first suit case. These are
all secured firmly in place
by screws, etc. Lower photo
shows manner in which
portable radio is housed in
case to match first suit
case, thus giving a profes-
sional appearance to the
outfit. When lid is closed,
knobs protrude through
two holes cut into side of
case, and sound from speak-
er travels through the open-
ing in case covered with or-
namental grill cloth as may
be seen in picture.

— Edw. A. Johnson.

Movie of the Month

• Each month the editors of
HOME MOVIES select the best
picture sent in for analysis and
designate it "The Movie of the
Month." This movie is given a
detailed review and a special
leader is awarded the maker.

This award does not affect the
eligibility of such films for entry in
the annual HOME MOVIES CON-
TEST. They are automatically en-
tered for rejudging with those
films submitted especially for the
annual contest. Films awarded the
honor of MOVIE OF THE MONTH
during the past 12 months are:
1940

AUGUST: "St. Margarets," pro-
duced by Gordon MacCormack,
Montreal, Canada. A 16mm Koda-
chrome film 400 ft. in length.

SEPTEMBER: "Angels Are Made
of Wood,' 'produced by Herman
Bartel, New Rochelle, N. Y. An
8mm Kodachrome film 200 feet in
length. (Winner Lloyd Bacon Tro-
phy, 1940 Amateur Contest.)

OCTOBER: "Driftwood,' 'pro-
duced by A. O. Jensen, Seattle,
Wash. An 8mm Kodachrome film
400 feet in length.

NOVEMBER: "Father's Time,"
produced by Raymond Fosholdt,
Long Beach, Calif. A 16mm pic-
ture, 400 feet in length.

DECEMBER: "Spokane and The
Inland Empire," produced by Bur-

ton Belknap, Spokane, Washington.
A 16mm Kodachrome picture, ap-
proximately 800 feet in length.

1941

JANUARY "Three-Wishes" pro-
duced by Earl Cochran, Colorado
Springs, Colorado. An 8mm Koda-
chrome picture, 125 feet in length.

FEBRUARY: "Happy Landing,’
produced by Mildred Caldwell,
Long Beach, Calif. An 8mm Koda-
chrome picture, approximately 400
feet in length.

MARCH: "Home Town," pro-
duced by West W. Champion,
Fresno, Calif. A 16mm picture,
1600 feet in length.

APRIL: "Fledglings," produced
by Dudley Porter, Beverly Hills,
Calif. An 8mm Kodachrome pic-
ture, 150 feet in length.

MAY: "A Pain in the Night,"
produced by Rev. Raymond G.
Heisel, Elmira, N. Y. An 8mm
Kodachrome picture, 125 feet in
length.

JUNE: "Tropical Ecstasy," pro-
duced by Dr. Roy L. Gerstenkorn,
Beverly Hills, Calif. A 16mm Ko-
dachrome production, 350 feet In
length.

JULY: "Within These Hills,"

produced by J. Glenn Mitchel,
Joplin, Missouri. A 16mm Koda-
chrome picture, 800 feet in length,
with sound on disc recording.

HOME MOVIES FOR JULY

PAGE 345

■

COLORFILM

INSIDE

OUTSIDE

With the PB Movie Kit for Color Film

$3.95 COMPLETE
1 PB Lens Shade and Filter Holder
1 PB Haze Filter (for Kodachrome)

1 PB Conversion Filter (for converting Type A to
Daylight)

1 PB Filter Pouch

For 8 mm. Eastman, Bell & Howell, Revere,
Keystone and others.

ALSO AVAILABLE

Polaroid Filter . . $4.75 Portrait Filter . . $0.75
Order from your nearest dealer or direct from :

PONDER & BEST

1015 S. GRAND AVE.,
LOS ANGELES, CALIF.

100 FT.SemUOrtho piLM
Anti-Halo

(Either 16mm or Dble. 8mm
Bulk) with every order of $5.
Offer Good for July Only.

BETTER BULK FILMS>-Same price for 16mm or
Double 8mm.

Rapid-X Pan Super-pan Semi-ortho Semi-ortho
Anti-halo Anti-halo Anti-halo Clear-Base
100 ft $3.60 $3.15 $1.30 $1.20

400 ft. 12.95 11.60 4.25 4.00

Above prices do not include processing.
Reversal Processing — Single 8. Double 8 or 16mm —
100 ft.. 85c. 50 ft.. 65c. 25 ft. 50c.

READY TO MIX PROCESSING POWDERS— Half
gallon size; 1st developer; bleach; clearer; 2nd de-
veloper; hypo. ALL FOR $1.30.

Send for complete lists and FREE booklet on home
processing instructions, plans, formulae and supplies.
All Orders Shipped Postpaid Except C.O.D.

CORONA FILM LABORATORIES

200 Easf 34th St. Brooklyn, N. Y.

First Step to Successful Pictur^,

Free flluslraled cataJ<^. crammed wiih hundreds of new '
and used bargains, lists everything photographic— still ['
and movie cameras, films, lenses, equipment— at ire*
inendous savings. Liberal trade-in allowances. Satisfac-
tion guaranteed or your money back. ICFday IriaL Write
for your FREE copy— just ouL Hurry!

CENTRAL CAMERA CO.'g^?’

230 So. Wabash Ave., Chicago, III. Since 1899

Kadachrame

MAPS eUcMWim. TITLES

Geo. W. Colburn Laboratory

Special Motion Picture Printing

I I97A Merchandise Mart, Chicago

Develop 8mm, IGmm films with a

FLEXON

25, 50, 100 ft. sizes

Rev. proc. powders — I gal kit $1.75

Bulk film 16mm Ortho, Pan. 200 ft 5.00

8/8mm Weston 24-16, Pan 96 ft 3.00

FLEXON CO.

1910 Belmont Ave., Chicago, III.

IWANNA

$1.98

100 R. I6mm.

PAN A TONE
MOVIE FILM
The film with economy and quality all rolled
into one. Includes reversal processing and
return by

SPECIAL DELIVERY
A service offered by no other firm.

We Pay All Postage. 50-Ft. Camera Fans Write
IWANNA — 479-A QUINCY ST., B'KLYN, N. Y.

The “A to Z*' trace • a • titles
method is the first real im-.
provement over the old fash-
ioned way of title making.
Only outfit with Twelve Alpha-
bets, Initials, Numerals, Title
Tricks, etc., for only $2.00. Oe
luxe outfit only $3.00 at your
dealer or direct. Write for Free
Kit today— Dept. H27.

AtoZ MOVIE ACCESSORIES CO.

175 FIFTH AVE..NEW YORK CITY

Re-Perforating (M. C.
Kime, Canton, Ohio).

Q. Please advise if and
where I can have 16 mm.
film, re-perf orated for use
in a double-8 mm. camera?

A. The practice of re-per-
forating 16 mm. film for
use in 8 mm. cameras has
practically been abandoned
for the reason that it is
impossible to obtain the ac-
curacy in re - perforating
that is necessary to insure
smooth running of the film
in camera and projector,
with the original 8 mm.
perforations made at a dif-
ferent time than the 16
mm., no method has been
found for compensating for
the stretching or shrinkage
taking place in the film dur-
ing the interval between
the two operations. Result
is perforations are either
too close together or too far
apart, causing film to jam
in camera.

Yellow Screen (Walter
Ewing, Avon, N. J.).

Q. About five years ago I
purchased a crystal beaded
screen tvhich has since
turjied yelloiv with age.
This has reduced its effi-
ciency and I was wonder-
ing if there is some method
by which I mmj clean screen
or otherwise remove the
yellow discoloration?

A. This fault cannot be
remedied by washing. Best
bet is to place screen in
sunlight for a day or so,
thus bleaching the discolor-
ation.

Not In Single-8 (Joseph
Di Pirro, Buffalo, N. Y.).

Q. I have one of the early
model Univex 8 mm. cam-
eras and ivotdd like to tise
color film ivith it. Hoivever,
the maker of the camera
doesn’t sell color film at this
time. Can you tell me tvhere
I can btiy color film in sin-
gle 8 mm. ividth that may
be used with this camera?

A. At this time there is
no color film available for
your camera. Eastman is
the only manufacturer of
color film (Kodachrome)
which is available in double
8 mm. and 16 mm. widths
only. If you were to split a

• Readers; This department
is for your benefit. Send in
your problems and our tech-
nical board of professional
cameramen will answer your
question in these columns. If
an answer by mail is desired,
enclose addressed stamped
envelope.

roll of double 8 mm. Koda-
chrome for use in your cam-
era, you would be unable to
have it processed, as East-
man, the only company who
processes Kodachrome, is
not equipped to process the
film in single 8 mm. widths.
As you probably know,
Eastman laboratories slit
the film into two 8 mm.
widths and splice the two
together after processing.

Hypersensitizing (Edw. H.
Schlander, Chicago, 111.).

Q. Two articles ivhich
have appeared previously in
your m ag azine described
the process of hypersensi-
tizing Kodachrome film to
increase its speed under ad-
verse light conditions; one
article described results
ivhen Kodachrome teas hy-
persensitized before expos-
ure; the other, on hypersen-
sitizing after exposure.
Please advise what differ-
ence there is, if any, in the
residts obtained from the
two methods. Have you any
data on the extent of in-
creased sensitivity of films
subjected to hypersensitiz-
ing ?

A. Those experienced in
hypersensitizing Ko-
dachrome by the mercury
method declare that it
makes no difference wheth-
er it is done before or after
the film is exposed, except
that where hypersensitizing
is done before exposure, the
effect lasts but a few days,
thus making it imperative
that exposure of the film
should follow soon after hy-
persensitizing if the desired
extra-sensitive results are
to be obtained.

It is estimated that hy-
persensitizing increases the
speed of Kodachrome one
full stop. Hypersensitizing
after exposure is recom-
mended only after underex-
posing the film deliberately.

Quality Bulk Movie Film

8mm • 9V2mm • 16mm • 35mm

32 ft.
$1.30
.80

SUPER PANCHRO R EV E RSAL— Scored
Speed 24-18 — Anti-Halo Backing.

100 ft.

Double 8 . . . $3.60
Single 8 . . . 2.00

16 ram 3.25

MICROGRAN PANCHRO R EV E RSAL— Scored
Speed 12-8 — Anti-Halo Backing, Extra Fine Grain
100 ft. 32 ft.
Double 8 . . . $3.30 $1.20
Single 8 . . . 1.85 .70

16 mm. . . . 3.15

SUPER CINEPAN PLUS R EV E RSAL— Not Scored

100 ft.

33 ft.

Double 8 . . .

. $3.85

$1.45

Single 8 . . .

. 2.15

.80

16 mm. ...

. 3.50

SUPER CINEPAN REVERSAL— Not Scored

Speed 24-16 — Non-Halation Base

100 ft.

33 ft.

Double 8 . .

. $3.35

$1.25

Single 8 . . ,

. 1.90

.70

16 mm

. 3.25

CINECHROME SEMI-ORTHO REVERSAL

Speed 8-2 — Non-Halation Base — Not

Scored.

100 ft.

33 ft.

Double 8 . . ,

. $1.75

$ .75

Single 8 . . .

. 1.15

.50

16 min. ...

. 1.45

CINE-KODAK POSI T I V E T ITLE F I L M -NotScored
100 ft. 33 ft.
Double 8 . . . $1.35 $ .60

Single 8 . . . .90 .40

16 mm 1.00

Clear, Purplehaze. Yellow, Red, Amber. Special Blue.

.\lso DuPont Lavender, Pink, Light Amber.
Complete New Reversal and Title Instructions Free
with Film Orders. Separately. 25 cents each. Cash,
check or money order for quick service. Deposit
$1.00 returned with C.O.D. orders. Special Deliv-
ery, 15c; air mail $1.00 extra. Overpaj’ments re-
funded or credited. No stamps, please.

CAMERA SPOOLS WITH CANS— Each

Double 8 $ .35 Key.stone St. 8

Univex 20 16 mm., 50 ft.

Eastman Double 8 . .40 16 mm.. 100 ft.

EXTRA PANS. Double 8 and Straight 8 siz
100 ft. and 50 ft. 16 mm. size . . .
Non-Humidor. 400 ft. 15c each; 10 for
MISCELLANEOUS

BAIA Precision All-Metal 8 mm. Slitter .
FOTOFADE DYE for making Chemical Fades
FOTO-FADE WIPE-OFF TAPE, per roU
CINETINTS. 6 Colors and Instructions . .
DuPONT VISCOSE SPONGES, each . . .

HO.ME MOVIES, Back Issues. 1936-37-38
Not all months in any year, 1940-41, each
TITLE DEVELOPER, tubes, each make 16 oz

.35

.50

.60

.05

.10

1.00

$2.50

l.OU

.60

3.00

.35

.15

.30

.15

Write for Complete NEW Price Lists

W. STUART BUSSEY FILM LAB.

17 E. St. Joseph St. Indianapolis. Ind.

New Enteco
Filter
Kits

Each kit includes; One Dural filter-holding, felt-lined
lens shade. One ENTECO protective SAFETY pouch
(capacity four filters). Tuo dyed in the mass optical
glass filters.

Kit No. I: Bell & Howell. Double 8 F3.5. Revere.
Keystone 8, Univex FI. 9. F2.5. F2.7, F3.5, Keystone
16mm. F2.7, F3.5. Kit No. 2: Bell & Howell F2.5.
Kit No. 3: Argus C, C2, C3. Kit No. 4: Leica 50mra,
Elmar F3.5. Kit No. 5: Eastman Kodak. 8mm, Mod-
els 20. 25 and 16mm. Model E.

Your choice of filter colors. Y’el- Additional 19mm
low 1. 2, 3; Green 1. 2; Red 1, .

2 (deep). Orange Haze u. v. filters, 90c each

See it at your Dealer's today! or write

P'ntf>rn Camera Accessories

IhllUZLU 54 West 2lst St. New York City

When Tou Buy BAIA
Tou Buy the Best

Precision Made;
Guaranteed Perfect

$2.50

From Your Dealer or Direct
BAIA MOTION PICTURE ENG.
259 Gerald, Highland Park
(Detroit), Michigan

MACVAN MFC. COMPANY

3829 El Cajon Blvd. San Diego, Calif.

Special camera and lens alterations and
effects. Photographic apparatus.

FINE MACHINE WORK

MAKE YOUR OWN TITLERf

For all types of titUs, close-up and copy
work. Complete kit of finished parts —
optically g.'ound lens— easy instructions.

Assemble in 15 minutesi Money Back
Guarantee. State camera modal.

Disli'^ctlrt Titit C»rd-'‘Pholotriphy ^ ^|0«r

HOLLYWOOD MOVIE SUPfUT COMPAHY
NORTH HOLLYWOOD • CALIFORNIA

PAGE 346

Three pictures were made of
the same subject, using the
identical camera, light, film,
development and printing oper-
ations. Each exposure was
timed by a different meter;
one costing nearly three times
as much as a G M, another
costing over twice as much as
a G M Standard. Kesulting
prints were so alike, experts
couldn’t see any difference. On
request, we will send certified
prints to an>’one for personal
examination. This test proves,
we believe, that the G M Stand-
ard is America’s greatest pho-
toelectric exposure meter value.

it at your dealer’s.

G M LABORATORIES, Inc.
4229 N. Knox Ave. Chicago

STIinDARD

PHOTQtiEtTRII

iKPOSIIRemCTER:

THRIFTY j;,

FILM

Make Better Pictures at Less Cost

$160

$3.75

THRIFTY ORTHOTYPE, for outdoor
shooting, non-halatinn, fine grain, per

100-foot roll

THRIFTY PANCHROMATIC—

Per 100-foot roll

THRIFTY SUPER-PANCHROMATIC $4. 25

Per

100-foot roll

California Buyers include Sales Tax

THRtFTY FILMS

Drawer 98

Watts Station Los Angeles, Calii.

New

CINE
KIT

Only $6.00

4 FILTERS and DUAL-SNAP SHADE TO MEET
ALL MOVIE FILTER NEEDS — both Kodachrome
and Black and White.

The new Harrison CINEKIT contains a special Aero
Lock Ring, a Dual-Snap Aluminum Sunshade, and the
following de luxe Duraline Filters:* No. 4 Red
(brings out cloud.s against grey-blue sky). No. 4
Green (gives detail in green foliage and grass). No.
4 6-Y (darkens sky — gives contrast in snow scenes).
No. C-4 (corrects indoor Color Film for daylight
use). Case is of durable 5-oz. Elkhide, felt lined.

(*If desired, any filters specified will be substituted
for the above — more than 50 colors are available to
choose from.)

Send for Free Illustrated Folder Today
HARRISON & HARRISON. Optical Engineers
8351 Santa Monica Blvd. Hollywood. Calif.

Free 1941 Thalhammer Catalog

24 pages chock full of interesting
facts . . . Pictures of Thalhammer
tripods and accessories; this cata-
log can be yours by just writing
the THALHAMMER CO., 4663 San
Fernando Roa d, Glendale, Calif.

R avTn screens

For Theater Quality Projection

Raven Screens are inevitably selected by fine
cinematographers and theaters everywhere. There’s
a Raven Scrf.en to fill every need. Write for
new catalog to Dept. 7-HM.

RAVEN SCREEN CORP.

314 East 35th Street New York City

BUT NOT TO KILL!

WESGO HOME MOVIE SCENARIOS

Choice selection of plots. Fun for all. Send for complete
synopsis circular FREE! See your dealer or write to Dept. H

WESTERN MOVIE SUPPLY CO.j 254 Sujifer St., San Francisco

omposltion tip 6 . . .

• Continued from Page 328

The experienced photog-
rapher is constantly striv-
ing to produce the illusion
of depth, by whatever
method is suggested by the
subject. Common examples
are those in which dark ob-
jects are posed against
light backgrounds or vice
versa. Obviously a subject
posed against a background
of its own approximate col-
or is flat and lifeless be-
cause of the lack of defini-
tion. Taking advantage of
hyperfocal distances to sep-
arate the center of interest
to make it stand out is also
used extensively. A scene
in which all objects are in
sharp focus at the various
planes may be considered
an accomplishment but that
type of picture runs the
risk of losing eye appeal
because of the attempt to
see everything at one glance
or by allowing the eye to
wander over the entire
scene without a fixation on
one center of interest.

Most of us are aware of
the simple plan of leaving
some object in the fore-
ground to aid the illusion
of depth and most pictures
composed by this method
are very interesting. How-
ever. if the center of inter-
est lies in the background,
too much emphasis on the
foreground will detract the
eye from that portion of the
picture which we want to
retain. The usual selection
of a tree in the foreground,
off to one side, while rather
worn out by its common use
is still an effective example.
If the tree is placed well olT
to the side and not too
sharply focused, the eye
has a natural tendency to
wander past it to the hori-
zon. Shifting the camera
angle to put the tree in the
center of the picture ruins
the illusion of depth, as the
eye is stopped before it has
a chance to view the back-
ground.

A simple rule to follow :
never bisect a picture eith-
er vertically o.r horizontal-
ly which^will give the eye
two equal choices. Empha-
size the foreground by re-
ducing the sky area, or em-
phasize the sky area where
the beauty of the clouds is

the center of interest by re-
ducing the foreground.

This is demonstrated in
pictures “A” and “B”.
Both shots were made from
the same camera set-up.
Picture “A” is uninterest-
ing because of the large
area of water in the fore-
ground. By tilting the cam-
era upward, the water area
was reduced, the interest-
ing cl ou d formation was
added to the picture plus
the framing of pine boughs,
making the interesting shot
we see in Fig. “B” — prov-
ing that composition was
there for the photographer
who had the ability to rec-
ognize it.

S ome authorities advise
a proportion of two-thirds
to o n e - 1 h i r d , although
three-fourths to one-fourth
will also improve composi-
tion. Horizons, not too
straight across the picture
create more pleasing ef-
fects. Horizons and shore
lines shot at an angle will
lead the eye farther into
the scene. Posing a person
against a wall for a
straight shot will never
have the effect of depth
that can be accomplished
by taking a side shot, allow-
ing the wall to run back
away from the subject. An-
gle shots of all descriptions
are increasingly popular
because the excursion of
the eye is more accurately
controlled. A road running
from left foreground to
right background allows
the eye to follow through.
Telephone wires, street
curbings, car tracks or any
other straight lines serve
very affectively to enhance
the illusion of depth by
having them cut through
the picture area at odd
angles.

A train approaching al-
most head-on, with a view
of all coaches coming into
the scene is far more inter-
esting than that shot of the
same train traveling
straight across the scene
from left to right. Glancing
back to Figure 1, it will be
observed that the straight
lines are made to appear
curved by the angles
through which the eye must
travel. This simple illus-

HOME MOVIES FOR JULY 1

tration proves that flat J
surfaces viewed from an j
angle produce depth. J

Figure 4 is a similar E
treatment in which the per- *
feet circle loses its shape ;
by angular viewpoints. |
Surrounding objects which I
are subordinate to the cen- I
ter of interest are often '
controlling factors to exag- j
gerate or suppress the orig- ,
inal effects. Figure 3 j
carries this same idea fur- ‘
ther by showing that the j
center of interest can be- 1
come less prominent if the i
surrounding objects are of I
larger size than the sub- i
ject. To pose a person
against a huge statue of
full length view, the im-
portance of that person is
lost by the grandeur of a
similar object of greater
size. If it is desired to show
that grandeur, the relative
size of the person posed
nearby will produce that
emphasis. However, if the ^
person is the important ;
subject, the posing should (
be near some smaller •
object. i

Good composition allows ]
for only one center of in-
terest in a single scene. To
lead the eye to that center |
of interest is our problem. [
Other methods of doing this i
are employed very easily |
through the gestures of |
people appearing in the |
scene. With the attention j
of a person in the picture J
directed toward the center |
of interest, it is natural for j
the eye to follow that direc- t
tion. ;

Let us suppose we have ‘
a scene in which a mother j
is feeding her baby. Here i
we have two subjects, simi- I
lar but of great difference [
in relative size. Ordinar-
ily, the desirable subject *
would be the baby and ij
probably the main object j
of taking the picture. If 'j
the mother holds her atten- ;j
tion on the baby with every j
spoonful of food and con- j
centrates her interest on I
him, we are likely to con-
centrate our interest on
him also. But let her only
raise her eyes to the cam-
era and baby plays second
f id d 1 e. Peculiar, isn’t it, ,,
what the flicker of an eye-
lash will do ?

The fisherman with his
catch will appear to be a
better fisherman if he dis-
plays pride toward the fish
rather than toward the !
camera. This is the exam-

home movies for JULY

PAGE 347

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pie proven by Figure 1 in
which the steps can have
two separate effects, but
only one at a time. If our
attention is dra'wm to one
center of interest we must
let the other one go. We
can select either subject for
the center of interest, but
with only the slightest en-

• Continued from Page 325

shown in Fig. 1. I started
the projector and turntable
and regulated the rheostat
until the dots gradually
started to slow down, and as
I increased the speed of my
projector the dots appeared
to stand still. I then kept
my eye on the dots and
when they started to move
again I changed the speed of
the projector a little by ad-
justing the rheostat.

Cut out the disc in Fig. 2
and mount it on a piece of
cardboard, piercing a hole
in the center. If yo.u are
going to make a recording,
place the disc on the record-
ing turntable. Move the
projector around until the
brightest part of the light
that is spilled from the gate
falls on the strobo disc.
Then when making the re-
cording watch the disc and
increase or decrease speed
of the projector according
to the movement of the
dots.

W hen recording, it Will
be necessary to keep the
shavings off the disc since
they will obscure the stro-
boscope. When the cuttings
start to collect, remove
them with a brush.

Splice a leader about two
feet in length on your film
and, at a point about 6
inches from the start,
scrape one frame clear. Set
this frame in the gate of
the projector. Start both
the recorder and projector
at the same time. Then
when you play back the re-
cording all that will be nec-
essary is to set the first
frame in the gate and set
the playback arm on the
first groove and start both
the projector and record
player simultaneously.

Thus record and film will
be synchronized within one
second throughout the
whole reel. The average
ten inch record will play
about four and a quarter

couragement by lack of con-
centration the eye will wan-
der aimlessly over the en-
tire area, seeing nothing. A
brief rehearsal of each
scene, viewed through the
viewfinder, is the best as-
surance of improvement in
composition.

minutes. Where it is desired
to synchronize recordings
to I'eels of film longer than
50 feet of 8nnn. or 100 feet
of 16mm. it will be neces-
sary to have a set of dual
turntables with controls
that will enable fading the
end of one record into the
beginning of the next.

Assuming the film to be
synchronized is 400 feet of
16mm. film in length, the
recording would be divided
into four parts - — that is,
four separate records would
be used (or two records,
where both sides are avail-
able for use.) In wu’iting
the conmientary, a twenty
second break in speech
would be allowed at the end
of each record and this pe-
riod then covered with
background music. This
will provide the interval
necessary for fading
from one record to the next.

Following this procedure,
when cutting the second
and subsequent records,
start the projector after the
film has been turned back
a few feet past the point
where the first recording
ended. Then when a point
is reached in projection
equivalent to within ten
seconds of where the first
recording ended, start the
commentary on the next
record. The speech on this
and subsequent recordings
should begin where there is
a change of scene as a
means of identifying the
starting point for fading in
the next record. Thus, when
playing the completed re-
cordings \\dth the film, it
wdll only be necessary to
watch for certain scenes as
a cue for fading from one
record to another.

There’s increasing inter-
est in making movies based
on standard musical record-
ings, such as described by
Maurie Webster on page
275 of the June issue of
Home Movies. Here the re-

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Furthermore, and most important, the
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Being fully corrected optically, the Mack
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Ask your dealer, or write direct to

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PAGE 348

HOME MOVIES FOR JULY

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carding provides the theme
or plot for the picture and
scenes are staged and filmed
to correspond with parts or
all of the recordings. This
will require a little different
procedure than that just de-
scribed. The first step will
be to select the one or more
recordings and then play
them over a few times to
determine what part of
them can be set to action on
the screen. The script is
then written, and the rec-
ords played again to ascer-
tain how many seconds or
minutes the desired portion
of each record plays. With
this information, we know
how long the scene should
run for each musical inter-
val.

When shooting the scenes,
an allowance equivalent to
two or three seconds is
made in the footage to pro-
vide ample film to work
with when splicing the pic-
ture together. In this case
it will be far easier to trim
the extra frames than to
add any to make the scene
match the musical score.
When all scenes are ready
to be edited and spliced,
measure each one for prop-
er length. One foot of
8 mm. film runs for five sec-

• Continued from Page 319

titler lens. A small titler,
readily carried into the field
will work wonders here.
Frame the blossoms in the
area designed for the title
card. If these shots are
made on bright days you
can use an f/8 or f/11 stop.
These reduced diaphragm
openings will give greater
depth of focus. This is es-
sential, as in working at
such close range there is
only a meager depth of field
in which the subject can be
sharply focused.

An interesting camera
subject readily overlooked
is that of insects. Old stand-
bys in this field, of course,
are bees and butterflies
alighting on flowers. With
luck and dexterity these
may be caught in ultra-
close-ups with a titler.
Otherwise bring a telephoto
lens as clbs^ to the insect as
the focusing scale will per-
mit. Thus filmed, a plump
caterpillar or grasshopper
will loom up gigantic as a
dinosaur on your screen.

onds when screened at nor-
mal speed ; two feet of
16 mm. runs for five sec-
onds. Thus, if your musical
score plays fifteen seconds,
you would allow three feet
of 8mm. or 6 feet of 16mm.
film for the corresponding
scene.

When the film is com-
pletely spliced, record and
film may be played and pro-
jected simultaneously in
perfect synchronization by
following the procedure de-
scribed earlier. Set up pro-
jector alongside the turnta-
bles so that the light spilled
from the film gate falls up-
on the stroboscope when
placed upon either turnta-
ble. After switching on
both projector and turnta-
bles, run projector at slow-
est speed, gradually in-
creasing the speed until ac-
tion appears normal on the
screen. At this point, make
any additional adjustment
of the rheostat necessary
to make dots on stroboscope
appear to stand still. When
this point is attained, both
projector and turntables
are fully synchronized and
ready for projection of the
complete picture with the
recordings.

Include the birds of your
region in your film project.
Filming bird life is a fasci-
nating, although difficult,
phase of outdoor photogra-
phy. A camera speed of
thirty-two frames a second
is indicated in recording
the darting action of birds
in order to keep them on the
screen long enough to see
them. Otherwise bird shots,
upon screening, will resem-
ble a fleet of swift bombing
planes. The matter of lens
opening in shooting bird
life is solved by taking an
exposure meter reading
from the bark of adjacent
trees. For a drab-colored
bird take a reading close to
the bark of a dark tree ; for
one of brighter plumage a
birch, aspen, or similar
light-barked tree will do.

Now comes summer, and
with it big moments for
filming friends and rela-
tives in new and interesting
routines. Why shoot Uncle
Looie awkwardly posing in
his Sunday best when he’s

more at home in fishing '
duds, whisking a fly rod ;
about snags and stumps? I
And why take Aunt Agatha
daintily sniffing a posy
when Aggie would rather
frolic in the water with the j
youngsters? Seek to catch
your subjects while en-
gaged in their favorite pas- ;
times. Being adept and ab- ^
sorbed in the thing they <
best like doing, they will i
appear infinitely more nat-
ural and interesting on your ;
screen. j

Summer holidays at a j
beach offer splendid mate- '
rial for lively pictures.
There is, however, the ;!
dreaded pitfall of overex- [
posure, and our prime con-
cern should be to carefully '■i
check the prevailing light jj
condition with our meter, f
Users of black and white t
film will find ordinary pan- -
chromatic or orthochroma- j
tic of sufficient speed, with i||
best results obtained with a H
yellow filter on the lens. |j
Beach scenes will be better
if we maneuver for side- |
lighting of our subjects so I
that larger objects throw q
patches of shade or color ;i
for contrast to the mono- ji
tone of sand. •

Nautical -minded movie
makers likewise come into i
their own at this time of
year, and here again is a |t
subject calling for meticu- |
lous attention to the matter |
of exposure for with good '!
weather prevailing, the ef-
fect of open sky and water
is to doubly intensify the -
light. Those who must .
learn the hard way will
scorch all detail out of the t
highlights of seascapes un- I
less the preponderance of
reflected light is carefully jj
considered in calculating J
exposure. Even an expos- •
ure meter improperly used
in such cases can be mis- ||
leading. .

When not using color film, jX
a medium yellow filter is ji
useful to darken the sky ,(
and lighten the sails in ji
yachting pictures, and if j
you seek a more exaggerat- X
ed effect of darkened sky i
use a red filter. Those who i
strive for interesting cam- j
era angles will be in their j’
glory when filming sail- |
boats.

A wealth of morviermate-' *
rial lurks in the autumnal
countryside, and advance
“explorations” will readily
uncover it. Let the mellow

^^iim tL

e 6eudon5

HOME MOVIES FOR JULY

PAGE 349

mood of the season soak in-
to your soul, and reflect it
in your scenes. Try work-
ing early in the morning.
You will discover a hidden
charm in the dewy fresh-
ness. Long shadows and
misty atmosphere impart a
subtle charm to everything.
Don’t use a haze filter; it is
the very diffusion of light
imparted by haze that en-
hances such scenes. The
motif to bind these shots to-
gether may be woven into
a rural hike. Reveal the
autumnal scenery from the
viewpoint of the hikers, oc-
casionally cutting back to
near shots of them.

With the advent of win-

ter a new and fascinating
world is opened to movie
cameras. Just contemplat-
ing the future screening of
all those skating, skiing,
curling, ice boating, snow
shoeing and tobogganing
shots should make plotting
the winter sequence of our
film a pleasure in itself.

Sunlight is the prime
requisite for attractive win
ter movies. It imparts vir-
ility to snowscapes. Take
away the sun and life leaves
the snow. When shooting
winter scenes with black
and white film, make full
use of the sunlight by
means of a 2x or 3x yellow

Wa, Inserts add interest . . .

Continued from Page 320

Those who want to try
animating the line of travel
can easily do so by mount-
ing the camera firmly be-
fore the map, and shoot one
frame at a time — extending
the line on the map a frac-
tion each time with pen or
pencil. If your camera
provides for single frame
exposures, the task will be
simple. Cameras not hav-
ing the single frame fea-
ture can be used for stop

motion photography but re-
quire a little practice by
the operator to develop j ust
the right touch of the start-
ing button that will release
but one frame at a time.
Also, exposures for this
stop motion that slows
shutter action must be cal-
culated to insure best re-
sults and, more frequently,
running a short test strip
will provide the shortest
cut to the correct exposure.

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Filter

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Green

Orange

Red

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Daylight

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Cine Kodak “8" Super X. .

Daylight

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Daylight

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Cine Kodak “8” Super X. .

Daylight

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Cine Kodak "8" Super XX

Daylight

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Agfa 16mm Plenachrome. . .

Daylight

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Agfa 16mm Panchromatic..

Daylight

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Agfa 16mm Triple “S" Pan

Daylight

1.5

1.2

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Agfa 16mm Hypan

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Agfa 16mm Twin-8 Hypan.

Daylight

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1.2

1.5

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2.5

3.2

6.3

Note: A1 figures are appro.ximate. Figures such as 2.2 may be considered as 2. and 1.25 as 1.50
(or V/i), and etc.

filter. The sky will be in
sharp contrast to the light
snow, whose subtle shadows
will be more adequately em-
phasized. But there’s plen-
ty of use for color film in
winter even though the
colors of nature are more
subdued. To get better
shadows in winter shots try
for cross- or back-lighting.

Finally, let your film of
the four seasons wind up
in a climactic blaze of
glory. Capture one of those
enthralling winter sunsets
when the sky’s aflame. Let
nature’s own lavish fade-
out draw the curtain on
your movie epic.

Lines are not the only
medium that may be used
to trace the route of travel.
A diminutive toy automo-
bile from the dime store
counter placed on a map
and made to move in stop
motion or by means of an
invisible thread, is another
very interesting innova-
tion. Where one’s vacation
trip was made by air, a
small toy airplane may be
used. Placed on a panel of
clear glass above the map
and out of camera range,
the shadow of the tiny
plane cast upon the map by
an overhead spotlight gives
a modern touch to a travel
picture.

Good exposure, of course,
is highly important. An
uncolored map on white pa-
per will require from a half
to a full stop less exposure
than one printed on tinted
stock or where the back-
ground is printed in vari-
ous colored tones. This is
especially true where Koda-
chrome film is used. The
white expanse of the map
tends to reflect light back
toward the lens diffusing
detail of the lettering and
lines.

Focus is no less import-
ant. It should be sharp and
where small map areas are
to be filmed, an auxiliary
lens of the correct diopter
size must be used before
the lens the same as when
photographing titles.

And here’s one more
idea — a clever one, too —

Saff

it with

sorxD

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BERNDT-MAURER RECORDER

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II97-A Merchandise Mart CHICAGO

"THERE IS NO SUCH THING AS"
Dry-Brittle-Rainy Films — When Processed With

’■ V I T A F I L M "

It Solves Your Film Storage Problem
Trial 4 Or. Bottle 50c to S6.00 per Gallon.
See your nearest Dealer, or order direct.

R. D. HANISH COMPANY

93 East Longview Ave. Columbus, Ohio

8MM

KODACHROME

DUPLICATING

All duplicates on genuine koda-
chrome. Allow 3' above actual UC
length for tests. Min. order $5.00.

HOLLYWOODLAND STUDIOS
Southgate California

KNOW YOUR BIRDS

(

16 mm Color Film Showing Wild Bird Life

SERIES
NO. 2

SERIES >^OBiN

^NO 1

WOOD-THRUSH

\ / SERIES tiTMOUSE \

) ( CHICKADEE I

/ V NO. 2 NUTHATCH y

A ma»(*rlul n«w iKhnigu*. Clur. brilliinl nJIurM c«lor» and baautifut cloM
uM. Mr. Cm. 8. Thorp. Pr*s. AwdubM Sociatr WmImr Pa. my*. "Kish
t«y»l ol phol»sr>P^k arbtlry makaa walchins th«$« picturta a pura dalisht.'*
Write for complete Information.

HEIDENKAMP NATURE PICTURES PI T TSBURGH. PENN A.

30 E* ^L*

CHICAGO, ILl-

SERVICE

PAGE 350

HOME MOVIES FOR JULY

NEW LOW COST 8:/16:|
HOME PROCESSING 0UTFIT$!|

Get this new low cost
kit and process your
own movies! Consists
of 50' capacity drying:
rack. loading stand,
tray, safellte, sponRe,
ana special thermom*
eter. Simple step-by-
step Instructions in-
sure results your very
first time. Processing
lime about 1 hour
. . . 8/8 mm. or 16
mm. film.

w capacity 30' single 8

^ Vr sal- solution

KIT NO. “

$3.50

4.75

as BULK MOVIE FILM i as

Buy Movie Film in Bulk, spool your own film, and savo
S$$. This fine grain, high grade, non halo film (Weston
12) projects to theatre qualify pictures.

100 ft. dbl. 8 mm. (equafs 200 ft. single 8). . .$1.8s

100 ft. single 8 mm 1.10

^ 400 ft. 16 mm. notched in 100 ft. lengths.... 4.6$
nera spools 3Sc each (any camera). Processing rates
-V eSc; 25 ft. 8/8 mm. 50c.

ORDER DIRECT FROM THIS AD TODAY ~
or MAIL POSTCARD for free BARGAIN
BULLETIN listing hundreds of Items, cam-
projectors, supplies, accessories, proc-
g rates, film price list, etc.

100 ft. 16

^^iS^^SUPERIOR BULK FILM CO.

‘'Home PrbcessinR Headciuarters"

18U VV. Randolph St.. Chicaao, III.

1003 PENNSYLVANIA AVg. N.W., WASHINGTON, P. C.

we saw worked out by one
amateur recently. His in-
sert shot consisted of close-
ups of a reg-ular automobile
road map with the hand of
a person tracing- the route
of travel with a heavy black
crayon-pencil. These shots
were m a d e out of doors
with sunlight for illumina-
tion, and in each scene the
shadow of some object sym-
bolizing the region was cast
across the map. When the
travel route through moun-
tain areas was shown,
shadows of shimmering

Thu First Haircut

Cinefilmers with a young
son will respond readily to
this human interest filming
idea. It concerns son and his
first haircut — Dad’s proud
urge to have it done and
Mother’s desire to retain
those fluffy curls as long as
possible !

I filmed the idea using my
young nephew as “son” and
his mother playing the part
of “mother” in the picture.
Like all mothers, she was
adverse to having son’s
golden curly locks trimmed
and thus advancing her
baby into a real boy. This
furnished the idea for the
movie.

The opening scenes show
Mother, Father and Son in
their home, with the elders
discussing the proposed
haircut. Mother is brushing
and fondling it, thus show-
ing how long it is, etc. Fath-
er, with a pair of shears
concealed in his pocket, goes
over to the boy and ruffles
up his hair which the boy
enjoys very much. Suddenly
Father brings out the shears
and starts to cut. Mother
jumps to her feet and a
tussle follows which ends
when the boy starts to cry.

Here, a title — “Later that
day . . .’ ’is inserted. The
next scene shows Father re-
laxing and reading his
newspaper. Mother enters
the scene, shopping bag in
hand, and states she is go-
ing to the grocers. After
she leaveSj. Father looks up
slyly from his paper ; looks
around for Son; and get-
ting up from chair, exits
from scene.

Next scene shows Dad
with hat and coat calling

leaves patterned the map.
The shadow of a rustic rail
fence fell across the map
when travel through Ari-
zona was traced. And the
final map insert indicating
arrival in California was
atmosphered with the
tracery of a swaying palm
leaf. Thus, symbols Avere
employed to add a note of
newness to the old map in-
sert idea and at the same
time emphasize, in slightly
dramatic manner, the lo-
cale described geographi-
cally by the maps.

to Son playing in the yard.
Taking the boy by the hand
he leads him away, and
the next scene shows them
walking along the street
with a barber shop just
ahead. Follows shots of the
two entering barber shop;
business of Dad ordering a
haircut for the boy, etc.
Following these, are many
highly interesting shots of
the barber’s shears and clip-
pers cutting into the boy’s
curly hair; the curls drop-
ping to the floor; and the
barber’s feet tramping
them underfoot as he walks
around the chair.

Then there is the one big
revealing shot — of Son,
sans curls, and with hair
trimmed like a regular
feller! Dad pays the barber
who in turn gives the lad a
lollipop. Next we see Son
strutting down the street,
proud as Punch, alongside
Dad. Then as they near
home, they spy Mother en-
tering the front gate. Both
stop abruptly. Dad hides
the boy behind him and they
proceed cautiously to the
house.

Upon entering the house.
Dad and Son stand a mo-
ment in the doorway await-
ing the reaction of Mother.
Dad gulps and Son chuckles
a little. Mother bursts into
tears and takes boy in her
arms. The lad pats her
cheek and says : “Don’t cry.
Mother,, I’m grown up now.
Anyway, I brought you
something to remember
your little boy by . . .” and
then he carefully withdraws
from his trouser pocket, a
lone curly lock of his hair
tied with string and gives
it to Mother, d. Kutzbach.

One ReJ WoUeS

HOME MOVIE PLOT OF THE MONTH

yCuiewd

• Continued from Page 329

and three - quarter inch
lens; Royal tripod; East-
typewriter titler.

"YELLOWSTONE PARK"

200 feet 8mm— By T. H. G.. Jr.

Continuity : This is a rec-
ord of a trip to Yosemite
National Park composed of
interesting shots of the var-
ious scenic points and of
many of the wild animals
to be seen there.

Interesting is the run-
ning gag idea injected in
order to lend interest and
tie the shots together. It
is very simple — merely that
of a man trying to pry the
top off a beer bottle, having
lost his bottle opener. In
one of the concluding
scenes, his girl friend en-
ters the scene and discover-
ing his bottled dilemma,
takes the bottle and opens
it in a jiffy.

The filmer could have
improved this gag consid-
erably had he properly in-
troduced the man with the
bottle at the beginning of
the picture. Also, it would
have helped had he short-
ened the footage of these
gag shots to just a few
frames. This of course can
still be done.

The sequence showing
many of the wild animals
that are to be found in
Yellowstone is the highlight
of the picture — interesting
because of the obvious care
this filmer took to secure
the shots as close to the ani-
mals as possible and under
the right light conditions.
Another highlight was the
filtered shots of Old Faith-
ful geyser in eruption.
Unfortunately these were
offset to some extent by the
poor results obtained with
filters in other scenes.

Editing: Highly com-
mendable. Would suggest
omitting entirely some of
the underexposed “filter”
shots.

Titling : Main title is a
good one and we liked the
way this filmer used shots
of signs and highway mark-
ers along the way in place
of titles.

"VACATION 1940— NEW
ENGLAND HOLIDAY" ★★★

300 feet 8mm Kodachrome — By R. N. S.

Contimiity: This picture

HOME MOVIES FOR JULY

PAGE 351

is a travel record of a trip
to the New England states
marked by the usual fault
of a great many 8mm cam-
eras— lack of detail. How-
ever this filmer has com-
pensated for much of this
by choice and careful fram-
ing and composition of his
scenes.

Editing: All scenes have
been edited in best possible
order in view of fact there
was no continuity or run-
ning gags used. There are
some excellent wipeoffs
made with wipeoif tape
that serve to end one se-
quence and begin another —
the sequences, in this case,
being composed of scenes
grouped together pertain-
ing to each specific locality
visited.

Titling : Titling through-
out is very good and of
course is the thread upon
which all the scenes were
strung to make an interest-
ing movie.

Photography : As already
stated, composition of most
scenes is highly commenda-
ble, indicating careful plan-
ning by this filmer and
much study of the scene
through the viewfinder be-
fore pressing the camera
button.

f\eaction Pitots . . .

• Continued from Page 327

the reaction shot. A mys-
tery thriller would lose half
its appeal if it were not for
reaction shots in close-up
of the heroine’s face as she
screams, or registers hor-
ror; or the shot of the su-
per-detective as he remains
perfectly still and looks
sideways out of the corner
of his eye when something
moves behind the window
curtains. Reaction shots
used in this way are great
stuff for dramatic effects.

Although it depends en-
tirely on the subject matter
and tempo of the continu-
ity, as a general rule it is
advisable not to make reac-
tion shots too long, other-
wise they cut into the main
trend of the picture and
distract the audience. Also,
not every sequence can be
improved by reaction shots.
They should be used, not
necessarily sparingly, but
with judgment.

mil

Backgrounds

PAGE 352

HOME MOVIES FOR JULV

UflUIMED • IIDVmiSllli:

EQUIPMENT FOR SALE

• BASS SAYS: A hot tip — Buy Bass for Satis-
faction.

USED CAMERAS

8 mm. Bell & Howell Straight 8, F:3.5 lens,
$24.50.

8 mm. Bell & Howell Companion Double 8,
F:3.5, $32.50.

8 mm. Revere Double 8, F:2.5 lens and case,
$34.50.

8 mm. Bell & Howell Sportster Double 8.

F:2.5 Cooke and combination case, $54.50.

16 mm. Stewart-Warner, F:3.5 lens, $13.50.

16 mm. Filmo 75, Cooke F:3.5 lens, $30.00.

16 mm. Cine Kodak Model B, F:l.9 lens, 100 ft.
capacity, $39.50.

16 mm. Filmo 70A, Cooke 3.5 lens and case,
$42.50.

16 mm. Superspeed Filmo, Wollensak, 1.5 lens,
$75.00.

16 mm. Filmo 70DA. 15 mm. wide angle, I
F:1.8 Cooke, "i" F:3.5 Wollensak and case,
brown finish, $215.00.

USED PROJECTORS

8 mm. Revere Model 80, 500 watt lamp and
case, $47.50. .

16 mm. Bell & Howell, 250 watt, 50 volt, with
case, $42.50.

16 mm. Bell & Howell Model S, 500 watt.

brown finish, with case, $62.50.
l6mm.Ampro Model KD, 750 watt, with case,
like new, $90.00.

16 mm. Filmomaster, 750 watt, like new, with
case, $95.00.

16 mm. Bell & Howell Diplomat. 750 watt, with
case, $125.00.

USED SOUND PROJECTORS
l6mm.Ampro YA SOF Projector, 750 watt
lamp, like new, $195.00.

16 mm. RCA SOF Projector Model PG80, 400
watt lamp, $85.00.

16 mm. Ampro UA, 750 watt SOF Projector,
$195.00. . .

lllustrovox Film Slide Disc Projector, $30.00.
Readyl DeJur Critic Cine Meter highly rec-
ommended. Extremely sensitive, complete
with leather case. $18.00 postpaid.
Distributors of Auricon Recorders, new model,
complete $695.00.

Auricon Synchronized Motor for Cine Special,

$125.00. ^ X- . I*

Don't trade until you write to Bass tirst. It
pays in permanent satisfaction. Free on re-
quest: 84 page Bass Cine Barga Ingram— an au-
thority for silent and sound equipment.

BASS CAMERA COMPANY
Dept. ffC. 179 W. Madison St. Chicago, Illinois

• NEW or used Bolex or Keystone 8 and |6
mm. outfits, extra lenses, filters, other movie
equipment. OLENN MISHLER, Warren, Ohio.

• CLEARANCE Sale— 8-16 mm. movie screens,

cases up to 50% discount. Cameras, projectors,
library films. NO-WAT-KA, 225 Main, Passaic,
N. J.

• PAWNBROKERS since 1858. Specializing lib-

eral loans on cameras anywhere iri United
States. Eree information and appraisal. H.
STERN, 872 Sixth Ave., New York.

• PROJECTOR, combination 16mm and 8mm

Ditmar. You can show either 16mm or 8mm
pictures on this 500-watt proiector. Switchover
very simple. Original price more than $200.00.
For quick sale, $80.00. A-l condition. Box
RT. Home Movies Magazine, 6060 Sunset Blvd.,
Hollywood, Calif.

• SACRIFICE, all like new: Filmo 2.5 Sport-

ster, $50.00. Weston Cine Master, everready
case $15.00. Three rolls Kodachrome, expires
'42, $6.00. CHARLES LORING, 230 Bankers
Investment Bldg., San Francisco, Calif.

• BEADED Tripod Screens, 30"x40" Deluxe
semi-automatic, $15.00 value for $8.50. Limited
quantity. Hurry! Mittens Pin Letter Title Sets,
$3.85. PHOTOSERVE, Box 62, Collinsville, III.

• TWO R.C.A. 16 mm. sound-on-film cameras

— one studio type, one newsreel type. Perfect
condition. Reasonable. BARRY, 2106 Grand
Concourse, Bronx, N. Y. C. Phone Sedgwick
3-2900.

• CRYSTAL Beaded Screens: 30"x40" Box De-
Luxe, list $12.00, now $6.25. 36"x48", list $17.00,
now $9.00. 30''x40" Tripod, now $5.75. 36"x48"
Tripod, now $8.50. Roil up 36^'x48", $4.50. We
ship prepaid. ABBE FILMS, 1265-H Broadway,
N. Y. C.

ACCESSORIES

• AUXILIARY Lens Kits — six supplementary
lenses of 16", 18", 20", 24", 32" and 40"
focal lengths. Can be used on all titlers
which provide tor interchange of lenses. Also
ideal for general close-up photography. Com-
plete kit, $3.00. Separate lenses, 60c each.
Also available in 6", 8", and 10" focal lengths
for ultra-closeup work. HOLLYWOOD CINE
PRODUCTS CO., 3221 So. Figueroa St., Los
Angeles, Calif.

• Ten cents per word; minimum charge, $2.00 cash with order. Closing date, tenth
of preceding month. • HOME MOVIES does not guarantee goods advertised.

• Send ads to 6060 Sunset Boulevard, Hollywood, California.

SEND for tL eSe (f^ooLietd

... to increase your knowledge of movie making and equipment.

They're free unless otherwise specified. Just write to the addresses
given or make request for booklets wanted at your photographic

deal

INTERESTED IN SOUND?

The latest in 16mm sound
recording cameras and double
system recording units are illus-
trated and described in a booklet
available from J A. Maurer, Inc.,
successors to the Berndt-Maurer
Corp. Address request to 117
East 24th St., New York, N. Y.

WHAT FILTER SHOULD BE USED

is readily determined from
facts and tables contained in in-
teresting catalog-booklet sent
free to movie amateurs who
make request to Harrison &
Harrison, 8351 Santa Monica
Blvd., Hollywood, Calif. One full
page is devoted to description
of effects gained by use of vari-
ous colored filters; also filter
factors.

CORRECT EXPOSURE

under artificial light is prac-
tically assured readers of the
latest Wabash Exposure Data
bulletin released March 1st. This
bulletin lists complete exposure
tables for all popular films, and
while it is compiled especially
for the still photographer, there
is much data of interest to the
movie amateur. Also, a special
page is devoted to color photog-
raphy. Write Wabash Photo-
lamp Corp., Brooklyn, N. Y.

CASE HISTORY

of the Cne Kodak Specal, de-
sgned prmarly for the serous
movie maker, is outlined in a
handsome spiral-bound booklet
now available from Eastman Ko-
dak Company and their retail
stores in every principal city.
Profusely illustrated, the book-
let tells more about the camera
than could be gained by inspect-
ing it personally over the cam-
era shop counter. Make request
direct to nearest Eastman Kodak
store.

8mm FANS

should have Bell & Howell’s
complete catalog of Filmo 8mm
cameras, projectors and accesso-
ries. Explained are features of
all Filmo “8^^—equipment, plus
some fine tips on how to make
successful movies. If not avail-
able from your Filmo dealer,
write company at 1801 Larch-
mont Ave., Chicago, 111.

er s.

IT'S EASY WITH A WESTON

is title of new booklet contain-
ing a clever story telling the
right and wrong way to use an
electric exposure meter and
pointing out the difference be-
tween pictures made with and
without aid of a meter. Also
contains full description of each
of the three models of Weston
Meters. Make request to West-
on Electrical Instrument Co.,
Newark, N. J.

METAL TITLE LEHERS

manufactured by H. W. Knight
& Son, Inc., for movie amateurs
are illustrated and described in
an interesting six-page folder
which also gives a lengthy trea-
tise on how to make good titles.
Write the company at Seneca
Falls, New York.

LENSES

for amateur and professional
photographers — still and movie
— are described in a concise 17-
page booklet available free of
charge from C. P. Goerz Ameri-
can Optical Co., New York City.
The data makes possible for the
cameraman to readily under-
stand the functions of lenses of
various sizes and will aid him
in selecting new lenses as addi-
tional equipment for his camera.

NEW HORIZONS

SPRING

brings Fotoshop’s spring 40-
page bulletin of special clear-
ance values in new and used
photo and cine equipment. Copies
available by writing Fotoshop,
Inc., 18 East 42nd St., New orYk
City.

PROCESSING IS FUN

is intriguing title of 12-page
booklet available from Corona
Film Labs., 200 E. 34th Street,
Brooklyn, N. Y. Gives low-down
on film processing for amateurs
plus data on necessary equip-
ment, chemicals, and formulas.

FILM RELEASES

• ADULT FILMS, 8-16 mm. (not arts). Over
100 subjects! Lists, lens cloth, lOc. No post
cards answered. JENKINS, 392, Elmira, N.Y..

• LATEST 8-16 mm. War, Comedy, Travel, Un-
usual subjects. Send lOc for sample and lists.
A personal service. RIO, 413-H Elmira, N.Y>

• SOUND and Silent Films exchanged, bought,
sold, rented. Bargains always. New Free lists.
FRANK LANE, 5 Little Bldg., Boston, Mass.

• HOLLYWOOD productions galore! Hun-
dreds to choose from! Bulk film. Bargain lists
yours for the asking. ERWINE'S CINE LAB-
ORATORIES, Allentown, Pa.

• 8mm. FILMS! Latest Castle releases. Also
big selection used prints. Allowance for your
films. RIEDEL FILMS. Dept. HM-741, 2221 W.
67th St., Cleveland. Ohio.

• ALASKA Bear, Caribou, Mountain Sheep,
and Salmon — 16 mm. Kodachrome or blade
and white. THE ALASKA SPORTSMAN. Ketch-
ikan. Alaska.

FILMS

• SPECIAL! 25' 8/8 mm. film, Weston 12.
non-halation, daylight loading, including proc-
essing, 85c. RITTER FILM SERVICE, 629
Lyman Ave., Oak Park, III.

• LARGE warehouse stock of 8mm. 16mm'
bulk films. Complete modern laboratory for
processing, cleansing, preserving movie films.
Movie and still cameras, projectors, acces-
sories. Nu-Art and Castle films. AIRLINE
PHOTO SUPPLY, Box 1739, Cleveland, Ohio.

• BULK FILM — Positive in plain, lavender,
yellow, amber — 400 ft. 8-8 or 16, $3.85. 100 ft.
$1.00. Weston 24-16 Pan N-H. 400 ft. 8-8 or

16, $11.65. 100 ft. $3.20. Weston 64-40 Pan

N-H, 400 ft. 8-8 or 16. $12.65. 100 ft. $3.60.

Cameras, projectors, accessories. R. B. CAM-
ERA AND PHOTO SUPPLY CO., 3357 E. 66tb
St., Cleveland, O.

TITLES

• INGENIOUS new Rever-o Title backgrounds
transform your simple typewritten lines into
interesting, white lettered, pictorial titles. Send
25c for sample kit. HOLLYWOOD MOVIE
SUPPLY CO.. North Hollywood. Calif,

SOUND EQUIPMENT

• DUAL TURNTABLE, 78 Rev. complete with
amplifier, horn and microphone used only a
short time, will sacrifice for only $60.00. Also
can furnish dual turntables for broadcasting
into your radio set. Recorders with Amplifier
from $60.00 up cutting at either 33-1/3 or 78
revs. Blank records for recording. At radio
and camera headquarters — SUMNER RADIO,
3307 W. 54th St., Los Angeles, Calif.

PROCESSING SERVICE

• MOTION picture processing. 100' 16 mm.,
75c; 50' 16 mm., 50c; 25' 8/8 mm., 35c; 25'
8 mm., 25c. RITTER FILM SERVICE, 629
Lyman Ave., Oak Park, III.

• GUARANTEED 8 mm., 16mm., 24-hour re-

versal, processing. ESO-S, 3945 Central, Kan-
sas City, Mo.

TRADE

• WILL trade my 12" overhead record cut-
ting assembly complete for a good 8 mm.
P/2" telephoto lens or other photographic
equipment. DAVID POMIS, 1381 Sterling
Place, Brooklyn, N. Y.

EQUIPMENT WANTED

• WANTED immediately — one new pair 8-16
mm. Bolex rewinds. Advise if you have same.
BRIAN D. RUMMEL, Coca Cola, Charleston.
W. Va.

BOOKS

• Are you a "beginner" In the ranks of ama-
teur movie makers? Would you like to know
how. to use your camera to the very best, ad-
vantage, yet avoid the mistakes and wasted
film that so often results from lack of knowl-
edge of fundamentals of cine camera opera-
tion? Then order a copy of "How to Use a
Movie Camera." Just 50c, and well worth it.

Would you like to learn how to process your
own titles — what equipment to use — what ex-
posure to use — all about auxiliary lenses — title
areas, etc.? Wo.ud you like complete plans for
building a very simple and versatile home
movie titler? Then send for "How to Title
Home Movies" — the latest and one of the
most authentic books ever written on the sub-
ject. Price $1.00 per copy. We pay the postage.

VER HALEN PUBLICATIONS
6060 Sunset Blvd. • Hollywood, Calif.

Your Movie May
Win This Trophy!

Sponsored by Lloyd Bacon, ace director of Warner
Brothers' First National Pictures, this Lloyd Bacon
Trophy is the most distinguished award that can come
to any movie amateur. The Lloyd Bacon Trophy is the
Grand Award given for the best 8 mm. or 16 mm. ama-
teur movie submitted in Home Movies' Annual Amateur
Contest.

In addition, there are sixteen other awards to be given
those submitting best pictures in each division —
Scenario Films, Family Films, Documentary Films, and
School Made Films. Then there are five Achievement
Awards to be given those amateurs whose films or
movie making activities show highest achievement for
the year in Photography, Editing, Titling, Sound, and
Technical Progress. A special Club Achievement Award
is given the Amateur Cine Club making the greatest
progress or conducting the greatest benefits for its
members.

Plan To Enter Your Film!
Here Are The Rules

• Entries limited to 16mm. and 8 mm.
films. No. 35 mm. reductions eligible. No
restriction as to length or subject. You
may submit as many entries as you wish.

• Transportation on entries must be paid
both ways by contestant. Where return
postage is omitted, him will be returned
via express, collect. All entries will be
promptly returned after review by judges.

• Don't wait until hnal week to submit
your hlms. Send them in as soon as
ready. They will be reviewed, judged,
and graded and a full report of same
hied for consideration at time of hnal judg-
ment. Films should be available for a
second review by judges at close of con-
test if necessary.

• All entries should be titled at least to
the extent of a main title. Adequately
titled hlms improve their standing in the
contest. Professional or laboratory pro-
duced titles are permissible.

• Be sure to label your him reels and
containers, giving your name and address
and the title of your production.

• No entry blanks are necessary. En-
close data with entry as to camera, lens,
and him used; also, state whether hlters,
tripod, exposure meter, and any other
equipment was used. This information has
no bearing on the judging, but is of in-
terest to the editors.

NOTICE!

Closing date of Home Movies 1941 Amateur Contest has been
extended from June 30 to September 30, permitting more time
for completion and entry of pictures filmed during summer
months. The contest is in full swing, NOW — so get busy!

HOME MOVIES’

Open

1941 ANNUAL AMATEUR CONTEST

to a ll A mateurs!

I O reach far up into the blue for close-ups of planes or gliders ... to
hurdle the sidelines for revealing shots of important action in any sport
... to get portraits of distant, timid game ... to obtain unposed glimpses
of the youngsters at play, unconscious of you and your camera . . . for
these and for dozens of other particularized types of movie making, rely
on a Cine-Kodak Telephoto or Long-Focus lens.

In design, material, craftsmanship, and finish there are no better
specialized lenses than these. They are precision products, in the true
sense of the phrase, fully meriting the pride and confidence of skilled,
experienced movie makers.

For users of such 16 mm. cameras as the Magazine Cine-Kodak,
Cine-Kodak K, Cine-Kodak E //1. 9, the Cine-Kodak Special, and other
home movie cameras equipped with standard-threaded lenses, there
are seven long-focus Cine-Kodak lenses.

50 mm. (2 inch) f/l.6
50 mm. (2 inch) f/3.5
63 mm. (2V2 inch) f/2.7
76 mm. (3 inch) f/4.5

102 mm. (4 inch) f/2.7
114 mm. (4'/^ inch) f/4.5
*152 mm. (6 inch) f/4.5

*This lens cannot be adapted to
the Cine-Kodak E //1. 9.

The Magazine Cine-Kodak Eight can be fitted with the first four of the
foregoing lenses. In addition, there are two others available;

25 mm. (1 inch) f/l.9 38 mm. (IVi inch) f/2.5

A 38 mm. inch) //4.5 telephoto lens is made expressly for use
with Cine-Kodak Eight-60.

EASTMAN KODAK COMPANY, ROCHESTER,

YEARLY SUBSCRIPTION. $2.00

Lloyd G. Miller

8inin. and 16mm.

ANIMATED

CARTOONS

I e a t u r i n g

Donald Dnck
Mickey Mouse
Minnie Mouse
Oswald Rabbit
Meany, NGny & Moe

. . . and others!

IIOLLYWOOD Home Movies bring you the cream of professional
^ animated cartoons for screening with your home projector. Too
numerous to describe here, over two hundred cartoons are now avail-
able in both 8 mm. and 16 mm. width, ranging in price from 75c to $6.00
per reel. Ask your dealer to screen these cartoon films for you or write
for latest complete catalogs.

You’ve seen

us in theatres,
now let us en-
tertain you in
your home!”

Hollywood Home Movies are sold *
by leading Photo Dealers every-
where. If your dealer cannot
supply you, write direct to . . .

’ I

DVISORY EDITORS

K. K. BAUMGARDNER

Peoria Cinema Club

R BEZEK

Chicago Cinema Club

MES BIALSON

■natour Motion Picture Club of St. Louis

loss BROWN

Dallas Cinema Club

IRGE BURNWOOD

The 8-16 Movie Club, Philadelphia, Pa.

ljUDE W. A. CADARETTE

Los Angeles 8mm Club

ItMERSON CLYMA

Detroit Society of Cinematographers

tSELL A. DIXON

Pittsburgh Amateur Cinema Club

|IL DVORAK

Suburban Amateur Movie Club

HUR E. GIBBS

Portland Cine Club

A. HOOK

Seattle 8mm Club

RED F. KAUFMAN

Indianapolis Amateur Movie Club

NESTELL

Cinemen Club "

^tCISSE A. PELLETIER

I Toronto Amateur Movie Club

3ERT B. PETERSON

Metropolitan Cine Club

ME RIEBETH

Minneapolis Cine Club

'HEO. ROTH

I Sherman Clay Movie Club

0. ROUNTREE

Bay Empire 8mm Movie Club

|AUL SNYDER

Norfolk Amateur Movie Club

b E. SNYDER

Des Moines Y.M.C.A. Movie Club

F. SISSEL

Austin Movie Club

C. ENION SMITH

- Metro Movie Club of Chicago

red ii Second-Class Matter, May *, l?38, at
oitofiiee at Los Angeles, Catit., under the Act
of March 3, I87».

^iption rates: U. S. $2.00 par year. Canada
^reign Countries, $3.00 per year. Single copies
Foreign single copies 3Sc, Copy-
■10, by Ver Helen Publications. Advertising
rates on application.

Reg. U. S. Pat. Oil.

Member Audit Bureau of Circulation

CONTENTS FOR AUGUST, 1941

it’s new to me — By Cmebug Shopper 358

it's time to edit vacation movies — By Russell Dic\son 363

TIMING — THE ESSENCE OF ALL GOOD MOVIES —

By George W. Cushman 364

FULL PAGE TITLE BACKGROUND — By Howard Severson 365

DEDICATION — MOVIE OF THE MONTH — By }. H. Schoen 366

MAKING MOVIES THAT PAY THEIR WAY — By Lynn S. Metcalf 367

TRY THESE NOVEL SHOT TRANSITIONS — By Stanley E. Andrews.... 368
WANT A NEW IDEA FOR KIDDIE MOVIES? — By Maurie Webster 369

HOW TO BUILD A SIMPLE SOUND RECORDER-

By Wdliam J. Bornmann 370

DESIGN FOR A WEDDING MOVIE — By Curtis Randall 372

CANDID COMMENTS ON .AMATEUR M.ADE MOVIES — By The Editors.... 373

EXPERIMENTAL CINE WORKSHOP 376

WITH THE REEL FELLOWS 381

THE READER SPEAKS : 383

INFORM.ATION PLEASE 385

TITLE TROUBLES 387

DIRECTORY OF AM.ATEUR CLUBS 393

TITLE BACKGROUNDS .. 395

EDUCATIONAL AND DOCUMENTARY FILMS SECTION

AM.ATEUR FILMERS DOCUMENTING CALIFORNIA MISSIONS —

B>- LaTsfelle Fosholdt 374

OPPORTUNITIES IN THE DOCUMENTARY FIELD —

By George W. Cushman 375

AUGUST

NUMBER 8

VOLUME VIII

REEL FELLOWS

A friendly fraternity of
movie amateurs sponsored
by Home Movies maga-
zine. Your membership is
invited.

CHAS. J. Ver HALEN C. J. Ver HALEN, JR.

PUBLISHER ASSOCIATE PUBLISHER

OFFICE OF PUBLICATION
6060 Sunset Boulevard, Los Angeles, Ce
Phone GRanite 5149

NEW YORK OFFICE
Everett Gellert, 62 West 45th Street
Vanderbilt 6-5254

CHICAGO OFFICE
Frank Thompson, 712 Wrigley Building
Whitehall 7784

ARTHUR E. GAVIN
EDITOR

RAY FERNSTROM
Technical Editor

GEORGE W. CUSHMAN

J. H. SCHOEN
Associate Editors

C. E. BELL
Photographic Editor

L. C. BUSCHER
Art Director

■ 1

HOLLYWOOD'S MAGAZINE FOR THE AMATEUR

PAGE 358

HOME MOVIES FOR AUGUST

What Do You Want
Your Movie Film To Do?

Take sparkling, clear night baseball games? Realistic
campfire meetings? Sharp, brilliant sunlit beach groups?
Indoor action pictures? . . . Then youTl need speed and
latitude to "get" the picture — fine grain for “true" pro-
jection quality. And . . .

How Much Do You Want
To Pay For This Good
Movie Film?

Top prices for a small number of good pictures? Bottom
prices for a large number of poor pictures? — OR ... a
moderate price for film comparable to any other at any
price offering almost twice as much fun and dollar for
dollar value. If you don't want to dig so deep. Mister . . .

Then You Must Try These
Quality Kin -O- Lux
Movie Films !

OUTDOOR
KIN-O-LUX NO. 1

(Weston 8, Scheiner 18°)
100 ft. $3.00.

OUTDOOR AND INDOOR
KIN-O-LUX NO. 3
(Weston 50 Tungsten 40,
Scheiner 26° Tungsten 24°),
100 ft. $6.00.

OUTDOOR
KIN-O-LUX NO. 2
(Weston 12, Scheiner 20°)
100 ft. $3.50.

INDOOR ONLY
KIN-O-LUX NO. 3
GOLD SEAL

(Weston Tungsten 100,
Scheiner Tungsten 29° — no
outdoor ratings). 100 ft.
$6.00.

Don't take our word for this. Don't take your
dealer's word. TAKE ONLY YOUR OWN. Try
Kin-O-Lux. Prove to your own satisfaction
you've found the movie film you want.

Reg. U. S. Pat. Off.

ite

KIN-O-LUX, Inc.

MOVIE FILM

• 105 WEST 40th STREET -

• - : A

NEW YORK CITY

Jt’i HI 1 W fc

me . .

By CiNEBUG Shopper

Marked improvements are an-
nounced for the popular Seemann
Splicer said to greatly increase quality of splices of both
8 mm. and 16 mm. films. In addition to attractive wood-
en base on which all
Seemann Splicers are
now mounted, further
improvements are re-
ported on such exclu-
sive Seemann features
as film tension pins,
dry emulsion scraper,
and register pins ma-
chined for exact regis-
try of 8 mm. film. See-
mann Splicer retails
for $3.95 at most photographic dealers. Wholesale Pho-
to Supply Co., Hollywood, are manufacturers.

Firp<iiHp Filmc Feminine Flashes, Colonial Williams-
burg, Africa Squeaks, Alice In Won-
derland, and Zoo In Manhattan, are among the new 8 mm
and 16 mm Fireside Film releases announced by distribu-
tors Nu-Art Films for August. A feature of these films
is the special treatment given each before shipment which
is said to safeguard the emulsion against damage and
prolong life of films. Complete catalog of Fireside Films
is available from the distributor at 145 W. 45th St., New
York City.

Film War Record During the past two years, a series
of films depicting various phases
of the European war have been prepared for 8 mm and
16 mm home movie projectors. Beginning with the War
in China, this series covers every important event up to
recent months. Each film is a complete unit in itself
and it is said many home movie enthusiasts as well as
educational groups are accumulating the series as an im-
portant adjunct to their libraries.

Castle Films, New York City are the editors and dis-
tributors of this War Series, and the films are available
through most photographic dealers throughout America.
A new catalog giving complete details of all films of the
series may be had by writing Castle Films direct.

Pro-type Tripod ^ serviceable professional type tri-
pod is now available for use with all
16 mm. and 35 mm. spring-motor driven light weight
cameras. Trademarked the “Camart,” this tripod is avail-

able in three models ac-
cording to requirements
of the user. Another
interesting companion
item is the lightweight
collapsible a 1 u m i num
“Y” tripod base, also
shown in illustration.
This base folds to a
compact unit which
may easily be carried
in most camera cases.
Both items are avail-
able from the Camera-
Mart, Inc., 70 West
St., who will

cheerfully give further
details and prices upon application.

• Many outstanding
"Easy - to - thread"
features.

• Projects Brilliant
8mm. Movies.

• Powerful 500-Watt
Lamp.

• Double Blower
Cooling System
for lamp and
film.

• Fully Enclosed
Mechanism.

• No Belts in the
Revere.

• Heavy-Duty A C -
DC Motor.

REVERE 8mm. PROJECTOR

For Free Literature, Write Dept. 8-H. M.

REVERE CAMERA CO., 320 E. 21st St., Chicajo, III,

Revere equipment consists of precision-built instruments — the
kind YOU will be proud to use and show. The appearance of
the pocket-size Revere 8mm. Camera is outward evidence of
quality in hidden parts and high standards of precision that
are so essential to superior movies.

Revere's automatic film threading sprocket not only makes
this camera amazingly easy to load and operate but is your
assurance of sharp movies — without film snubbing in rewind-
ing. You place the film spool onto the Eastman-type spindle...
drop the film in the gate and sprocket and fasten it to take-
up spool . . . close the camera — Revere does the rest.

Revere's rigid standard of manufacture, inspection and lens
fitting insures movies of remarkable sharpness. Take color
or black-and-white. The Revere Eight takes pictures you will
want to show. Revere equipment has advanced features that
every one appreciates.

Revere Model 99 Turret Camera

Has the same basic features as the Revere
Model 88 plus a rotating turrei head for three
screw type lenses, with extra optical viewfinder
for use with Telephoto lenses. By rotating tur-
ret-head you can change instantly from Vz inch
lens to Telephoto lens. Correct lens position is
assured by precision index mechanism. Com-
plete with one Wollensak 12.5mm. /.a

F2.5 lens ^65.00

Revere engineers have not passed
up a single requisite to make Revere
products the ultimate in precision.
An example of this exactness — set-
ting the local-length seat in Revere
Cameras. Only the finest micro-in-
struments are used. The distance
between lens seat and film track
must not vary .0003 inch to pass
Revere's rigid requirements. Revere
movies are always sharp.

The

speeds

exact

frames

second

and

per

are individually calibrated for
Revere Cameras. A delicate
stroboscope is used for these
precise settings. The speed
of shutter is synchronized with
the sensitive flashes of the
stroboscope, and is graduated
actually on the speed dial.

-THEN CHOOSE THE

CAMERA
AND PROJECTOR

Model 80; complete with 500-watt lamp and F 1.6
lens, $65.00.

Deluxe Model 85 with lamp, lens and case. $75.00.

(

PAGE 360

HOME MOVIES FOR AUGUST

Shutter

$7450

Model A-8

iUati noi all . . . ^leaxH ohA ^

Reverse Pictures ,p. Fast Automatic Rewind

t^Geared Motor Drive c Micromatic Tilting

P16 Lens (Woilens

with 100% rating) Cool Aperature Plate

ICeniTal Control -.

loiej^; Opi^raH on
StliL

Removable Condenser
Unit ' 4"

Foot feAcniwcl

Watt to

'(S Jt

7)i« FIRST 8mm;

PROJECTOR :

with a

750 WAn LAMP

and a

REALBRICIITSTIU

NLW I

Ektra Extras accessory items for the new 35mm.

Kodak Ektra are announced by East- \
man Kodak Co., Rochester. Heading the list and priced
at $40 is the Close Range and View Finder meant for use

with the 50mm. fl.9 lens at
distances from 31/2 feet down
to 1 V-i feet and with addition
of Kodak Portra 3 plus sup-
plementary lens, down to
10/2 inches. Features in-
clude single eyepiece for i
range and view finder, auto-
matic parallax correction, j
vernier scale for distances
shorter than 10 1/2 inches and I
an internal mask, slid into
place when the Portra is
used. Second item, High-
Low Angle Finder permits
camera to be used from
waist level with tripod or j
other support as well as overhead. It covers the field of '
50mm. lenses and will retail at $15.00. Accompanying
it is a Right-Angle Finder, priced at $10.00, convenient
when shooting in cramped quarters.

The Ground Glass Focusing Back, incorporates a i
ground-glass panel of fine texture, a self-erecting magni- :
fier and a mirror which can be set at a 45-degree angle '
for reflex-type focusing. It’s price is $25.00. At $17.50 I
is the Ektra Flash Synchronizer. Last new item, the i
Kodak Tripod Clearance Head is a compact unit which i
raises the Ektra a short distance above the tripod head, I
permitting Magazine Back to be opened without remov- I
ing camera from tripod. Price of this unit is $25.00. i

No Postaoc Puzzle Users of Eastman cine film away
^ on vacation need no longer won-

der how much it costs to send an exposed but unpro-
cessed roll or magazine of Cine Kodak Film to a dealer
or direct to an Eastman processing station. On Cine
Kodak film cartons, there now appears information stat-
ing exactly how much the cost is for sending the films
air mail. First Class, or Third Class.

Title Color Kit Hollywood Cine Products Los An-
geles, Calif., has produced the Titleer
Color Kit, a new kit for making Kodachrome title. It
consists of 25 colored landscapes, marine, snow and
flower pictures and 25 novelty backgrounds, a sheet of
clear celluloid for superimposed titles and a sheet of col-
ored translucent material for silhouette Kodachrome
titles. It is listed at $1.95.

Price Reduction

A marked reduction has been made
in the price of Fotos Calculator, the
accurate device for determining exposure for still and
motion picture cameras. Formerly marketed at $1.00, it
is now available for 35c

from Fotoshop, Inc., New
York City.

As a reminder, Fotos
Calculator is calibrated
in American Scheiner
from 15 to 33 degrees
and reads directly by 1/3
stops from f 1.5 to f45 for
exposure times from 2
hours to 1/lOOOth sec-
ond. Convenient size en-
ables it to fit in a vest pocket. In a special premium of-
fer, Fotoshop is offering the Calculator for only 19c to
customers ordering at least $2.00 worth of merchandise.

[

#■

oui*

WITH

Slui4Ml

<ut a

MOVIES OR STILLS

Reg. U. S. Pat. Off.

GLASS-BEADED

SCREEN

For the fullest enjoyment of your color or black and white
movies or stills, show them on a Da-Lite Glass-Beaded Screen!
It has the superior light reflective qualities, especially needed
for bringing out the true colors of color film, which is more
dense than black and white. The Da-Lite Beaded surface also
reproduces brilliantly and accurately every gradation of tone
in black and white film. See this famous Da-Lite Glass-Beaded
Screen surface (the result of 32 years of screen manufacturing
experience) at your dealer's today! The Da-Lite Challenger and
the Model B Screen (shown here) are two of many styles avail-
able. Some are priced as low as $2.00*. Write for literature!

‘Prices slightly higher on Pacific Coosf

DA-LITE SCREEN COMPANY Inc.

DEPT. 8HM

2723 NO. CRAWFORD AVE.

CHICAGO. ILL.

The Da-Lite Challenger — America's most popular screen,
is the most convenient of all portables. It can be set up
anywhere In 15 seconds. It is the only screen that can be
adjusted In height by merely releasing a spring lock and
raising the extension support. Compact "all-in-one" construc-
tion makes it easy to carry and use. 12 sizes from $12.50* up.

^Jdaue ^oo!

THE DA-LITE MODEL B SCREEN—
Sturdy construction, easy operation,
high qua!ity and low price make the
Model B the most popular wall type
screen. From $6.00* up.

DA-LITE SCREENS

... - ......... _

AND MOVIE
ACCESSORIES

PAGE 362

HOME MOVIES FOR AUGUST

"Well W'orn,’' by Paul Stiles of
New Bedford, Mass., whose ar-
tistic prints have won awards in
the New England Salon, the
Marshall Field Salon, the New
York Photo Exposition, the
Springfield Salon and many other
national exhibits. Paul Stiles
writes, " 'Vi' ell ir''or«’ was made
in the back yard of a deserted
200-year-old farm house... with
the object of squeezing out
every detail in the old seasoned
wood.” Doesn’t the enlargement
exhibit the detail you'd like in
your own enlargements.^ All of
Paul Stiles' enlarging lenses are
Wollensak Velostigmats. Im-
prove your photography with a
Wollensak.

WO LLE NXAK O PTlOAL OO

If we amateurs could be certain that all of
our vacation movie scenes would turn out exactly
as we planned them in advance, movie making
would indeed be a cinch. But none of us can be
sure of situations, weather conditions, etc., that
will be encountered on a vacation trip and even
the most seasoned cinefilmer cannot safely pre-
dict, as he watches a scene through his view-
finder, that it will appear on the screen as satis-
factorily as he sees it.

But after the vacation is over and films are
back from the processors, some scenes and se-
quences will stand out above the others — often
above those most carefully planned. Frequently
this upsets our pre-arranged continuity or editing
scheme. We have, you know, already suggested
that vacation movies should be plotted in advance.
So when we’re confronted with all those rolls of
films fresh from the processors and find many of
our specially planned shots have not come out
according to expectations, there’s need for chang-
ing our editing plans. But we can make an in-
teresting picture of all those scenes by careful
editing and titling.

This subject of editing vacation movies was

Chas. S. Martz, A. R. P. S

Ju time to edit

MOVIES..!

prompted by a recent review of o.ne amateur’s
vacation movies. The completed picture in 8 mm.
Kodachrome occupied two 200-foot reels. It was
well titled from cards executed in color by an
artist. It began with a number of miscellaneous
shots of the filmer himself and of friends taken
while en route to Florida by automobile. After
a few brief shots of Florida scenery, a title tells
that two of the party went deep sea fishing.

The day on which the fishing scenes were shot
evidently was perfect for color filming for this
cinefilmer had gauged exposure “right on the
nose.” The fishing sequence consisted of several
shots of the fishermen with lines and reels in ac-
tion, then of a large fish being caught and
brought to gaff, and finally scenes of interested
onlookers as the fishermen return to shore with
their prize catch. The sequence was well photo-
graphed and well edited.

The picture thus got off to a good start and one
would naturally expect the rest of it to prove
equally interesting, but with the very next se-
quence came disappointment. What followed was
fairly well photographed but it had not the in-
terest of the opening sequence. The filmer had

And If your vacation comes
later this year, these tips
will hold *tlll you return . . .

By RUSSELL D ICKSON

made a common mistake in cutting and editing
his picture. He placed the climax at the begin-
ning. Had he saved the fishing sequence for the
last, his vacation picture would have proved a
successful movie.

Later when it was suggested that the film be
re-edited, the filmer ai-gued: “But why should
I scramble up the scenes, show the last one first
and the first last when that isn’t the order in
which they wei’e taken on the trip?” Unfortun-
ately, this amateui- belongs to the first of two
classes of movie amateurs; those who shoot
movies merely as a chronological record of their
doings ; and those who shoot scenes with a plan

• Continued on Page 384

® A little careful study
of those shots you bring
back will enable editing
your vacation movies
with continuity and a
climax!

363

Enterprises

Hollyivood Fil

eddence

mouied

• • •

Screen effect enhanced by
cutting scene at right frame

• The two series of
scenes above, repro-
duced from a Christie
Comedy of the silent
days, illustrate the pro-
fessional's method for
cutting for effective
timing of action pic-
tures. Note how a re-
action shot is cut in
between the action
scenes to hold suspense.
Trick is to cut in shot
at the right point.

B y G.E ORGE W. CUSHMAN

There is much to be gained in study and
analysis of professional motion pictures screened
in theatres. Such study by ambitious movie ama-
teurs has resulted in improved amateur technique
and led to more serious cinematic undertakings.
We wouldn’t say this has caused some amateurs to
“go Hollywood,” yet an increasing number of
them have turned to loroduction of serious scenar-
ized home movies involving substantial casts, and
providing opportunity to experiment in other
branches of cinema art: dramatics, make-up, and
the writing of scenarios.

There’s a lot of fun to be had producing scen-
ario films and in spite of occasional shortcom-
ings in plot, continuity, or the dramatic abilities
of the cast, much can be done by deft cutting and
editing to keep such pictures out of the “corny”
category. Proper timing of action and close cut-
ting of shots in action^pictures will step up in-
terest considerably. In speaking of timing here,
we refer to any effect employed that will enhance
the drama of a sequence. This may be achieved
while shooting or afterward at the cutting board.

Let us take, for example, an action sequence in-

volving fall of a man from a high cliff. Obvious-
ly most amateurs would encounter difficulty in
filming such action in a single shot. Moreover,
the action in a single shot would lack suspense.
On the screen the man would appear falling,
hurtling through space, and landing at foot of
the cliff in the brief space of a few frames of film.
So quickly would the action flash on the screen,
many in the audience would scarcely have time to i]
perceive it. ^

Now if we take this same action and “cheat” a ij
little in the camera set-up, shoot it in a sequence
of shots, proper timing of each shot will create the ' :
desired suspense. Instead of a high cliff, a small .
bluff is chosen for the action. The camera is set !■
up close to the ground and focused upward to- I
ward top of the bluff to accent the illusion of ij
great height. The actor begins his business as ||
the camera is started and ends with a fall over j
the edge of the bluff to a lower elevation perhaps
just a few feet below and out of camera range.

Instead of following him with the camera in
his descent, we shall pick him up as he lands at y
the bottom. But to cut to this shot immediately
would steal away the effect that the actor had
fallen a great distance. Here is where timing is
employed to heighten suspense. Immediately fol- .
lowing the scene showing the actor falling over
the cliff, we cut to a shot shewing another char-
acter or group of characters observing his fall
and expressing fear, surprise, or relief, accord-

* Continued on Page 386 |i

Black and White Is title of the Inter-
esting picture on opposite page from
the camera of Howard Severson, Los
Angeles. It captured a 4th prize In
recent Graflex contest and was cho-
sen by the editors as the title back-
ground of the month. For best com-
position turn page horizontally so top
edge Is at left.

364

HOME MOVIES FOR AUGUST

• Without the medium of color, repro-
duction here of these scenes cannot do ,

justice to the quality of the photography i

of "Dedication" which is remarkable for i

consistent exposure, depth of focus, and
composition.

Great artists are said to be capable of
intense feeling, a quality which in the main acr ,
counts for their artistry and success. Michael |
Angelo, Reubens, Millet and others, whose wmrks 1
have lived through the ages, possessed an un- '
fathomable capacity for portraying subjects on i
canvas with feeling and emotion unmatched by ,
contemporaries.

Now, a modern artist with a natural inheri- ^
tance from the old masters has created a master-
piece with a modern medium — Kodachrome film ; !
a record of the achievement of a man he came i
to know and to admire deeply through long years ;
of friendship. This masterpiece is “Dedication,”'
an 8mm. color film running 400 feet in length.:
The artist, Alex W. Morgan of Toledo, Ohio.

“Dedication” has been chosen by the editors as '
the Movie of The Month. Unlike reviews of other ;
Movies of The Month, that of “Dedication” will i
be confined to a brief description of the film’s i
contents in order to permit inclusion here of |
much of artist Morgan’s informative letter which i
accompanied his film. |

“Dedication” is introduced on the screen with i
all the fanfare of a professional movie. A series j
of credit captions lead to the main title, all of
which are expertly composed with plastic letters :
applied over a colorful red background. Morgan ■
employed a unique fiop-over device for creating
transitions from one title card to another where ;■
text was too lengthy to permit inclusion in one
title. His titling is one of the highlights of the n
picture.

The lead titles explain that, “ . . . over 25 years|i
ago, a young Catholic priest. Father Dean, wasm
given charge of a newly formed parish in To-jl
ledo. Father Dean little dreamed his life’s work j
would be the building of a magnificent Cathe-
dral. ...”

DEDICHTIOfl

^yi^ouie tLe

An historical documen-
tary not ajh I e for its
artistic photography

This is followed by closeup of one of the ;
brochures announcing the dedicatory event and : ;
then by another closeup of one of the church i
bells tolling in the belfry. The edifice is intro- !
duced by a sequence of angular and well com- |
posed shots of the facade, tower and entrances. |

At this point another title informs that Father i j
Dean, for work well done, was elevated to Right
Reverend Monsignor, and a clever transition shot j
accomplished in stop-motion photography show- |
ing the change of robes for those of the highei' : \
office emphasizes this point. Then we are in- i
formed that on October 1, 1940, the first step in ;
the dedication — the blessing of the Cathedral — I
takes place, presided over by Arch-bishop ^
Cicognani.

What follows is a procession of sequences show- 1
ing the high dignitaries of the church, and him- I
dreds of nuns, parochial school students, and
girls of nearby convents gathered before the ; j
Cathedral for the ceremonies. |

Unfortunately, Morgan was unable to obtain I
pictures of the dedicatory services which followed i
inside the Cathedral. Later, however, he ob- '
tained shots of many of the features of the in-

B y

H . S C H O E N

• Continued on Page 388

366

S THE field of amateur cinematography
oroadens, amateur equipment gradually ap-
proaches a high degree of perfection, and as
amateurs become constantly more skilfull, many
of them are looking about to discover ways in
which to make their hobby pay.

Removed, as he usually is, from the commercial
and theatrical divisions of movie-making, the
I amateur often is unable to determine ways in
which he may get a cash return for his efforts
and skill. Yet, many amateurs have found this
to be possible and not a few have been able to
make movie-making a profitable avocation if not
a means of livelihood. Ways for the amateur to
profit are varied though they may be roughly
divided :

(aj Coaching new “fans.”

(b) Processing and editing for amateur
producers.

(c^ Producing various types of pictures
to order.

(df Showings of their own productions
for a “gate.”

(e^ Shooting movie “albums” or reels for
well to do families.

(f) Making movies for real estate agents
and property owners.

(g) For charitable and other organizations
as well as industries.

(h) Executing trick and novelty scenes
for amateurs unable or unwilling to
do it themselves.

There are, of course, numerous subdivisions

tnovieS

tnat

PDV rndR uiHv

of these fields of profitable activity for the ama-
teur who takes his cinematography seriously,
who is able to produce good pictures with the
professional touch. Perhaps the most profitable
field of all is that which involves producing special
pictures for private families of means who are
without photographic experience, yet will pay for
records of family activities. A number of ama-
teurs have found money-making possibilities in
filming an “album” of a single child from baby-
hood to adolescence — adding to the sequences at
yearly or semi-annual periods. Others find a
market for simple stories vautten around a well
to do family, their homes and their hobbies.

There are also possibilities in arranging to
shoot church and school outings and affairs,
usually newsreel style. More and more real estate
agents are utilizing movies in the sale of expen-
sive homes and estates, dramatizing comforts,
conveniences, picturing the beauty of the grounds,
gardens, swimming pools and so on. Some of the
builders and agents for new garden apartments
are having amateur movies of quality made of
their buildings and grounds to secure tenants.

The commercial or industrial field is a big one,
but here the amateur is largely limited to simple

shots of outdoor operations because his stock and
type of lights is insufficient to illuminate large
factory rooms or to adequately picture plant
operations. There are in every locality, however,
many industries whose functions are iierformed
under conditions which make powerful lights
unnecessary.

The really serious amateur who has advanced
beyond the range of his less ardent colleagues will
find that his skill and expeifience is salable to
other amateurs in his locality. If you have the
facilities to do good processing work, and the
skill to use it, quite a business can be built up
along this line. If you can provide simple opticals
and trick effects to order oi' have time and inclina-
tion to make them for “stock,” you will find it
possible to gradually build up a list of customers
willing to pay well. Many amateurs have special-

• Continued on Page 391

• Heaving the right
equipment, of course,
better qualifies the am-
ateur to fill commercial
assignments. A sturdy
tripod, variety of lenses,
and good exposure me-
ter are essential.

367

HOME MOVIES FOR AUGUST

Fiq. Z

ill

eSe noue

TheyMI

touch

give a professional
to your movies

• Two unique transition
effects are demonstrat-
ed in the sketches
above. Fig. I shows sim-
ple method for making
flop-over scene transi-
tions. Figs. 2, 3, and 4
illustrate the circular
wipe-off effect and the
guides required for
gauging area of each
frame. Just how to
achieve these effects is
described here by
Stanley Andrews.

By STANLEY E. ANDREWS

In the parlance of the professional cine-
matographer, the medium used to terminate one
sequence in a picture and begin another is termed
a transition. A transition may be effected by a
direct cut, a fade-out and fade-in, a lap-dissolve,
or with one of the many unique wipe effects de-
veloped in recent years. Such transitions have
their place in amateur movies, too, and few seri-
ous cine photographers make movies today with-
out employing transitions in photographing and
editing their pictures.

Most of us are familiar if not fully experienced
with the making of fades, lap-dissolves, and sim-
ple opaque wipe effects. But many who have
studied the professional’s tricks on theatre screens

HOME MOVIES FOR AUGUST

yearn to imitate some of his tricky wipe effects or
flop-over transitions. To make these as the pro-
fessional does requires more special equipment
than the average amateur can afford ; for such
professional effects are created, in most instances,
after the negative is shot and during the time the
master negative or the release prints are being
made in the optical printer.

A few inventive movie amateurs, however, have
found means of imitating with marked success
some of the professional’s more novel transitions
without expensive and complicated accessories
and equipment. Take the flop-over transition for
instance — the effect where one scene appears to
turn over, revealing another scene on the opposite
side. With a little extra work and patience, a
similar effect can be filmed with either 8 mm. or
16 mm. cameras employing only a simple type-
writer titler. Of course, with this amateur meth-
od only static scenes can be used — scenes in which
there are no moving objects.

The first step is to make an enlargement of the
last frame of the scene to be terminated by the
ti’ansition. Enlargement should be of convenient
size to be re-photographed easily with your cine
camera and an auxiliary lens such as used in film-
ing titles or ultra closeups. Next make a similar
enlargement of the first frame of the scene to fol-
low the transition. Note that all this is done
after your scenes are shot and the film returned
from the processors.

With the two enlargements completed, the next
step is to construct a frame on which to mount
and rotate the pictures, as shown in Fig. 1. Such
a frame may easily be constructed from odd
lengths of lumber and a piece of stout wire. The
wire is the axis upon which the pictures are
mounted and flopped over while being photo-
graphed by our cine camera. The two pictures
must be mounted so edges join perfectly, and be
sure picture on reverse side is mounted upside
down so that when it rotates into, position before
the camera it will be face up!

Now place the frame with the pictures mount-
ed upon it in back of the title card holder of your
typewriter titler, allowing sufficient room so
photos will clear card holder when being rotated.
The fact photos are set back some distance from
title card holder will make it necessary to employ
use of another auxiliary lens in the titler of the
right dioptre size for the added distance between
camera lens and enlargement. After carefully
centering the first enlargement, expose several
frames at normal speed ; then slowly rotate the
enlargements bringing the second photograph in-
to position and continue shooting the required
footage.

Obviously one problem confronts the amateur
making such transitions — that of matching the
exposure of the scene shot in the field and the en-

• Continued on Page 382i

368

,tis>

HOME MOVIES FOR AUGUST

PAGE 369

KIDDIE mOVIID?

1\. SALUTE to youth ! That’s the theme of
this month’s “Home Moviette,” another novel
movie short cued to music, and planned for the
amateur who wants something distinctive to set
off an evening’s performance.

The most popular of all movie subjects, the
young folks, have top billing in this production
which is designed for a single “star” but can be
adapted for two or more. An added feature is
that you can either shoot special material or make
use of some of the odd scenes now in your files.
Once the children’s antics are set to music, they
take on an appeal that is completely missing in
a silent picture. And best of all, the making of a
“Home Moviette” doesn’t list in the “hard-to-do”
column. The ease with which many recordings
can be used to give a real showmanlike touch to
short feature films makes the “Home Moviette”
a best bet for something really new in film en-
tertainment.

Our record of the month is “Jeannie With the
Light Brown Hair,”* that bromidic F’oster mel-
ody which has been exhumed by the deft baton
of our favorite conductor, Andre Kostelanetz.
Surely Mr. K. had no thought of providing us a
movie score when he created this outstanding ar-
rangement, but the warmth of its strains, the
colorful shading from one phrase to the next have
made it perfect as background music. With
“Jeannie” as the theme of the picture, it’s going
to be hard to miss !

If you missed the original expose on the “Home
Moviette” technique, here is a sketch of its fea-
tures. The Moviette is planned after we find a
record sufficiently outstanding to cause us to put
it at the top of the stack in the record changer,
to play again and again until exhausted. Wlien
its mood has suggested a matching plot idea, the
record is “broken down” into unit sections, and
scenes are planned to fit each one. All scene ideas
are elastic enough to permit each cinefilmer to
adapt them to his own requirements. Once the
film is shot, it is edited by footage to match the
record timings. One foot of 8 mm film runs 5
seconds, one foot of 16 mm film, 21/2 seconds. The
June issue of Home Movies gives" complete de-
tails on this, plus a handy frame ruler for use in
cutting.

Synchronization can be easily managed by ex-
perimentally running film and record together
once cr twice, or by the unique film gate — stro-
boscope idea outlined in last month’s HOME
Movie.

In this new “Home Moviette” you’ll find pro-

Made to order Is this new
melody movie for camera and recorder

By MAURIE WEBSTER

duction problems streamlined, with only two sim-
ple titles included and a scenario that makes very
few requirements in the filming. After all, the
only good movie is the one that’s in shape to be

* Continued on Page 380

*Columbia Recording .Vo. 7373 — 12 inch.

HOME MOVIES FOR AUGUST

J/,

Ifuiid

simp

• • •

SOUflD RECORDER

Low cost outfit enables
making sound recordings
cued to amateur movies

WILL

A M

O R N M A N N

• Pictured above is the
way the home-assem-
bled recorder appears
when mounted in an in-
expensive traveling
case. Amplifier is sep-
arate equipment and
next month, author
Bornmann will tell how
to hook up your radio
to serve as amplifier.

-I- HE big swing is to sound ! This, in a nut-
shell, describes the mounting trend of interest of
advanced movie amateurs. Amateur sound for
home movies ranges from simple musical back-
grounds to special recordings of both narrative
and music; sometimes sound effects, too. The
former requires a selection of musical records to
be played on a phonograph or set of dual turn-
tables ; the latter, the records, turntables, 'plus a
recorder for making the special recordings cued
to one’s movie films.

The activity of radio manufacturers in placing
c.n the market combination radio-phonograph-re-
corders has caused the development of some pret-
ty good home recording units — a “unit” in this
case meaning the special synchronous turntable
fitted with a geared cutting arm. In many in-
stances the playback arm is included as part of
the unit.

The average radio-phonograph-recorder, be-
cause of its bulk, is not always a convenient unit
for the amateur to work with ; and there remains
for far-seeing manufacturers to place upon the
market an ideal, low-coSfTmit with more general
appeal to the sound-minded cinefilmer. I think
I can speak from experience for I searched far
and wide for a combination recorder and play-
back unit to suit my purpose — and my purse. In

Born.

,1 1

I'l

the end, I built my own — and you can,
too !

One of the most suitable recording
units retails for about $18.00 at most
radio supply houses. This unit is
shown in the illustration on this page
and comes mounted on a metal plate
ready to assembly in a cabinet or port-
able case. It is a single speed job, turn-
ing at 78 R.P.M.’s. Wiring is so simple
that little time is required to mount the recorder
and hook it up with your amplifier.

Portability is an essential factor, for the am-
teur will need to set up the unit near his projec-
tor in cutting records cued to his films; also, he
will use this unit for playing back the recording
whenever and wherever his pictures may be
shown. A lightweight suitcase, such as those ob-
tainable in most five and ten cent stores for about
one dollar, make an excellent compartment for
the recording unit. One about 17"xl3V2"x6V2"
in size will be found especially convenient. The
case should be reinforced around the sides with
sections of light half-inch pine. This also forms
a framework upon which to mount recorder and
panel.

The panel may be of plywood or clear pine. By
placing the recording unit on top of it, a tracing
may be made indicating how much must be cut
away to allow for the motor and other mechan-
ism. Space should be provided at the right of the
panel for mounting the neon glow lamp, needle
cup, and the control switches, as shown in ac-
companying photo.

Here is a list of the parts and materials I pur-
chased in building my recording unit :

Approx. Price

suitcase 17”xl3i/2"x6V2

$ 1.00

General Industries Recording unit

18.00

single pole, single throw toggle
switch (SPST)

.20

double throw, double pole toggle
switch (DPDT)

.40

needle cup

.15

resistor in base, candalabra base
type 341/2 neon bulb

.15

chassis mounting socket for bulb. .

.20 f

feet AC (power) wire

.15

male AC plug

.10

feet single conductor shielded cable

.35

connector (depends on type of con-
nection on amp.)

.40 1

ft. 2-conductor cable (not shielded)

.20 \\

4-prong male plug

.15

$21.45 ■

Mounting of recorder in case has already been

touched upon so the next step is to explain the

370

HOME MOVIES FOR AUGUST

PAGE 371

wiring. A glance at the accompanying wiring
plan will indicate how simple is the procedure.
Step number one is connecting power lines to
motor of the turntable. The two lengths of wire
extending from turntable motor provide for this.
Solder one of these wires to one of the terminals
of the single-pole single-throw toggle switch
mounted on the panel. Solder the other wire to
one of the two wires of the 8-foot length of A/C
wire. The remaining strand of A/C wire should
be connected to the other terminal of the SP-ST
toggle switch. On the other end of the A/C wire,
of course, is the male plug for connecting to
power line.

ext step is to hook up the playback head. On
some makes of recording units there will be two
wires leading from the head. On others, only one
wire sheathed in a woven metal shielding. These
wires should be connected to the double-pole dou-
ble-throw switch which has six terminals, al-
though not all of them are used in this hook-up.
Take one of the wires leading from the pickup
head and solder it to one of the end terminals of
this switch, as shown in wiring diagram. Next
the five foot length of shielded cable should be
soldered to the middle terminal on the same side
of the switch. This places the shield on the play-
back head, or the remaining wire and the shield-
ed lead on the five foot length of cable. Place

the two wires next to each other so that the shield-
ing makes contact and fasten with a drop of sol-
der. It is advisable to wrap all soldered joints
securely with regulation electrician’s tape. This
cable may now be inserted and drawm through
the opening in the case and the connecting plug
installed that will permit hook-up with amplifier.

The next step in the procedure is to connect
the neon bulb, which will act as volume indicator,
to the recording head. This bulb is now in its
socket and mounted in the panel. The socket is
fitted with two terminals. To these connect the
wires of the five foot length of two-conductor
cable. Next, connect one of the two wires leading
from the recording head to one of the neon tube
socket terminals — it makes no difference which
one. The remaining wire from recording head
should then be soldered to the middle terminal of
the double-pole double-throw switch. Then with a
short length of insulated wire connect the re-
maining terminal on the DP-DT toggle switch.

This completes the hook up and mounting of
the recorder and it should be ready to operate as
soon as you throw the DP-DT toggle switch. The
switch in one position operates the recording
head, and reversed, operates the playback head.

Next month we shall describe how you can hook
up this recorder with your radio so radio will act
as the amplifying unit.

• The simplicity with
which this outfit can be
wired is evident from
the wiring diagram be-
low. A.i connections
should be soldered and
wrapped securely with
electrician's tape.

Bornmann

HOME MOVIES FOR AUGUST

Pat Rafferty filmed the
old, old, story a new way

By CURTI S RANDALL

WEDDING is one event in a man’s life
(and a woman’s, too!) WKich should be recorded
in movies. Not that he’ll need the pictures for
evidence, but it’s a logical event on which to be-
gin one’s movie biography. So often wedding
movies begin, and end, with the ceremony — a
short sequence, as in a newsreel. Such scenes

372

® These enlargements of frames from
the 16 mm. Kodachrome movie, "The
Old, O.d Story" reflect the techni-
cal skill of its producer. Note
the studied lighting in every scene
and the manner in which important
action was filmed in medium closeups.

flash on the screen a brief few seconds and are
gone again, and frequently as quickly, are out of
one's memory, too.

Just as one can glamorize with continuity any
event worth filming with a movie camera, so,
too, can a wedding be filmed as a complete picture
in itself — a picture with a plot, a beginning and
an end. Pat Rafferty, one of the up and coming
movie amateurs of the Long Beach Cinema Club,
has just completed a wedding picture that is a
fine example of all that a nuptial movie should
be. Aptly titled, “The Old, Old Story,” the pic-
ture embraces more than the wedding ceremony.

It seems the bride and groom, old friends of
Rafferty’s, prevailed upon him to make a Koda-
chrome record of their wedding. It was to be an
elaborate church affair v/ith a reception to follow
the ceremony at the bride’s home. Shooting pic-
tures of an actual ceremony within a church is,
of course, taboo, so arrangements were made to
shoot the necessary scenes immediately after-
ward. It is the usual custom for the bride and
groom to re-enter the church to receive the feli-
citations of their friends and this furnished op-
portunity to make the pictures.

The necessary lights were brought to the church
in advance and after the first ceremony, they
were set up in positions predetermined by hours
of patient checking and exposure meter calcula-
tions made several evenings earlier. After greet-
ings were concluded between bride and groom
and their many friends, all were asked to return
to the respective places held before the ceremony
so the scenes could be filmed. The preacher, of
course, gladly participated.

The opening shot of this sequence was made
from the choir loft immediately above and be-
hind the preacher and encompassed the bride and
groom walking down the aisle toward the pulpit.

• Continued on Page 389

• Below — the man behind the cam-
era that filmed "The Old, Old Story,"
Pat Rafferty, of Long Beach, Calif.

HOME MOVIES FOR AUGUST

■ LL Amateurs, whether subscribers of
Home Movies or not, are invited to submit their
films to the editors for review and helpful criti-
cism. Unless otherwise requested, reviews of
some of the films which we believe would benefit
other amateurs will be published each month.

Reviewed films will be rated one, two, three,
and four stars, and films qualifying for two or
more stars will receive, free, an animated leader
indicative of such award. Detailed reviews, with
suggestions for improvement — if any — will be
mailed to amateurs submitting their films.

Exceptional films qualifying for the distinction
of the “Movie of the Month” will be treated in
detail in a feature length article in a following
issue of Home Movies. In addition, a certificate
evidencing the award of “Movie of the Month”
and a special animated “Movie of the Month”
leader will be returned with such films after re-
view.

When submitting films for review and analy-
sis, please advise make of camera, speed of lens,
whether or not tripod was used, or if you used fil-
ters, exposure meter, or other accessories.

"A TALE OF THE NORTH "

280 R. 8 mm. Kodachrome — By F. deV.

Continuity: This story concerns two pals (?)
who found gold in Alaska. In the beginning we
see them trudging homeward through mountain-
ous wilds, each with a substantial pouch of gold
on their person. One of the men, who is married
and who left his wife at home to wait and worry
about him, stops to rest and gaze upon a photo-
graph of hei" which he conveniently carries.

While thus engaged, his pal, coveting more
gold, steals up behind him, strikes him down with
the butt of his rifle, and takes his pouch of gold.
Turning to flee, he spies a pretty Indian maiden
nearby who has witnessed his deed. Unmindful
of her, the villianous partner flees into the woods.
The maiden comes to the I’escue of the stricken
man, resuscitates him with water fi'om a nearbv
stream, and immediately becomes enamored of him.
But the man, true to his lonely,
waiting wife, spurns her affection
and trudges feebly onward to-
ward home.

Meanwhile, the villain has
reached his pal’s house, tells the
victim’s wife her husband met
with a fatal accident and pro-
duces an article of his personal
effects as proof. He moves in
with the poor distracted wife

citnciteur tncicle moi/ied . . .

Reviews that contain
helpfu! suggestions for
serious movie amateurs

By THE EDITORS

and daily attempts to force his attentions upon
her.

In due time, the supposed slain husband ar-
rives on the scene. There is a battle between the
two men and the double-crossing partner dies in
an accidental fall, leaving the true-blue husband
and his wife to live happily thereafter.

In a picture of this kind requiring proper build-
up for suspense in order to maintain interest, it
is not very often one can assemble a group of
amateur actors capable of emoting with the skill
of professionals. Their ineptitude, therefore is
chiefly responsible for any lag in action or story
interest and it is, therefore, more necessary than
ever to film a picture of this type in short scenes
and with frequent cutting from long and medium
to closeup shots to motivate the action, and thus
give the story the impetus the actors fail to
give it.

Photography : On the whole this picture is well
photographed. Exposure and focus is good in all
scenes including interiors. The only drawback

• Continued on Page i91

o Pictured above are
two scenes From, "A
Tale of the North,"
8 mm. Kodachrome pic-
ture marked by excel-
lent photography. Be-
low, at left, is enlarge-
ment of a scene from,
"W anted Life," a
16 mm. Kodachrome
movie, and at right —
a scene from, "Vaca-
tion 1940," a w’ll ed-
ited vacation fi.m al-
so reviewed in this
issue.

373

C4uc^thhal Ir

^ SECTION

i| HOME MOVIES FOR AUGUST

^^^mateuf ^iimers documentina

CJifornia MISSIONS

of data for their scenario. In due time
the shooting script was finished. Based
upon the renowned accomplishments of
Father Junipero Serra, it dealt with his
life and achievements from the time he
arrived in California until his death in
1748.

Camera activity was about to begin.
Others, movie amateurs and friends in-
terested in the undertaking, offered
their services. Assignments were made
for art work, titling, research, set con-
struction, and transportation. Spare
time during ensuing months was con-
sumed in searching for suitable exterior
locations, an activity which took the
pair from San Diego to San Francisco.

By June of this year, the cameras
were ready to roll — one 16mm. Filmo
for production shots and an 8 mm. filmo
for shooting tests. As may be seen in
an accompanying photo, both cameras
are equipped with windbacks, facilitat-
ing the making of lap-dissolves and
other effects requiring winding back
the film immediately after shooting.

In their desire for historical accura-
cy, these two serious movie makers en-
countered their greatest obstacle — that
of obtaining authentic costumes for
those cast in the roles of Fathers Serra
and Palou. A review of the stack of
correspondence bulging from Pope’s
desk drawer will indicate the thorough-
ness with which every source in the
State was canvassed in an effort to ob-
tain the loan of necessary costumes.
Fortunately most individuals and in-
stitutions contacted were eager to aid
them.

An odd experience was the attitude
of one person possessing historic relics

• Continued on Page 378

By LA

^^OULD you forego your job if it
interferred with the pursuit of your
home movie hobby? Val Pope did.
Pope, together with Harold O’Neal, both
Long Beach Cinema Club members, long
had planned the filming of a pretenti-
ous 16mm. documentary film on the
Missions of California embracing the

experiences of their founder. Father
Junipero Serra. Last September, the
two decided to pool their talents and
equipment and begin production.

Weeks of research were yet to be
completed. The local librarian even-
tually noticed a shortage of books from
the shelves covering early California
history. They had been checked out
casually by Pope and O’neal as a source

o Production stills above picture filming activi-
ties of Pope and O'Neal, also some scenes
from their picture covering founding of Cali-
fornia IvlissioriS. First picture shows them as-
sembling dolly track brought 350 miles by trail-
er tor the purpose. Next photo shows both
cameramen in action on an exterior, and the
adjacent picture — some of the cast. Lower
photos depict making and laying of adobe
bricks. At left — O'Neaf and Pope consult
script prior to lining up cameras for next shot.

374

iHOME MOVIES FOR AUGUST

C4iicathHal Lr f^pcui/neHtatif ^ilfn.

SECTION

'll ^

,! • The regular educational film features

il and departments usually found on these
j pages will be discontinued for the Aug-
I ust issue. They will be resumed again
j with the September issue and augment-
! ed by special features and articles of
' interest to educators and students
active in school production of movies
as well as visual education in general.

• Currently showing in the larger cities
is a new documentary film on the life of
j the Chinese, “Kukan” (said to be the
' Chinese word for courage). The film
; was shot on 16 mm color film by Ray
Scott, a newspaper correspondent, and
takes the form of a pictorial record of
a trip over the Burma road.

It is an inspiring testament of the
idealism, courage and resourcefulness
' of the Chinese. It stresses the strain
China has undergone in her war with
, Japan, but underneath the surface,
„ points out the rockbound tenacity which
is keeping China ahead of her would-
be conquerors.

♦ ♦ ♦

! • More than 2500 bookings, and an
*1 audience estimated at from ten to fif-
;; teen million, are reported to have seen
(! the documentary film. Power and the
'i Land, made by Joris Ivens for the Rural
!i Electrification Administration and dis-
f tributed by R.K.O.

^ The film shows the effect of the
j, R. E. A. program on an Ohio farmer
Il and his family. It will be issued on
(j 16 mm when the one year R.K.O. con-
I tract expires next month.

: • A history of the current European

I war entitled “Thumbs-Up” has just
■ been completed by H. T. Edwards for
I the British War Relief Society. The
film, available in both 16mm and 35mm,

: is one of those morale-reassurance films.

Lowell Thomas does the narrating.

♦ ♦ ♦

• Three more government films have
been accepted by a national group of
distributors working under Francis
Harmon of the Hays office for national
theatrical release. The films, all of
them shorts, are “Bits and Pieces,”
which shows the need for “farming
out” defense work in order to increase
industrial production ; “America Builds
Ships,” a brief exposition of the mer-
chant marine ship-building program,
and “Army in Overalls” showing the
role of the C. C. C. in military pre-
paredness.

oflunltieS

a^ocumentafi

By GEORGE

Of all the fields of movie mak-
ing, none comes more nearly made-to-
order for the amateur than the docu-
mentary. More amateurs have entered
the professional ranks through the doc-
umentary route than any other. Yet
the average amateur is hardly on
speaking terms with the documentary
film, its methods, its technique, its pur-
poses, its potentialities.

The word documentary still seems to
lack a universally accepted definition,
but for purposes here it is taken to
mean a film that is true to nature — a
non-fiction film, so to speak — one which
describes a subject as it really exists,
shorn of Hollywoodian glamour.

The theatrical movie we know today
demands a carefully written plot, choice
dialogue, expert acting, palatial sets,
and a number of other necessities well
outside the range of the amateur.

The amateur has at his own door-
step all the requirements for the mak-
ing of a documentary film. In fact, the
first documentary, or, perhaps better
said, the first film to awaken the pub-
lic to the value of documentary motion
pictures, was made by an amateur, Rob-
ert J. Flaherty, who went exploring in
northern Canada with a motion picture
camera.

Flaherty had no more motion picture
equipment than the average amateur
of today. He had but a camera and
some film. He wanted to picture the
life of the Eskimo, his struggle with
life’s elements to eke out an existence.
He photographed everything that con-
tributed to this end, then awaited until
he was back in his editing room to work
out his theme.

To say that any dub can go out and
make a masterful documentary is far
from the truth. A documentary, like
any other film, requires thought, plan-
ning, and study. But what we do mean
to say is that the necessary require-
ments of a good documentary film are
all within the reach of the amateur,
and we believe that the amateur will
find success more easily in this field of
cinematography than any other.

First of all, a good documentary film
demands good photography. The ama-
teur who would do this type of work
must first understand well all the prin-
ciples of movie making. He do3sn’t
necessarily need to be an expert cam-
era technician, but he must know what
can and cannot be done with a movie
camera. He can, when necessary, di-
rect the photography, while the actual
exposing can be done by an assistant.

W. CUSHMAN

but he must know the values of a scene
and the power it will carry on the
screen. This, of course, comes with
practice and is an important factor in
any branch of cinematography.

Second, the documentary filmer must
know his subject. Too many waste a
lot of film and time working on a sub-
ject about which they know very little.
The subject must be studied thoroughly
and completely understood. Flaherty,
in making his Eskimo film, had spent
many months among the Eskimos be-
fore he put his camera into action. He
lived with them, virtually became one
of them, in order that his film might
portray his subject to the fullest.

Third, the film must be authentic.
For this reason alone the amateur will
find documentary filming to his liking,
for artificial build-ups, sets, situations,
etc., are positively taboo. Every foot of
the picture must be true and authentic.

Fourth, if the film is to be received
enthusiastically, the subject must be
either an important one to the public at
large, or an interesting one. Subjects
of an inconsequential nature gain little
favorable attention. Films of this kind
made to be sold or recognized must re-
late to a topic of current interest. Most
of the big documentaries in the past
have dealt with man and his struggle
with various elements. The Plow that
Broke the Plains, The River, The Land,
Man of Aran, etc., are examples of this
type film. Chances are they will be as
forceful, as interesting, as problemati-
cal in the years to come as they are to-
day.

By contrast is the current film “Ku-
kan,” a documentary on the life of the
Chinese. Filmed originally on 16 mm,
the film covers Chinese life in relation
to the present Japanese-Chinese war,
how the people have withstood it, and
how they have changed their lives in
accordance. It is an excellent documen-
tary, but due to its timely nature may
become historical sooner than those
previously mentioned.

Last, and probably most important,
the documentary film must possess
good continuity. In this respect the
documentary is no different from any
othei’ kind of movie making. Continu-
ity does not necessarily mean plot. The
film must have a beginning, carry
through, and an ending. All in all, the
subject must move. It cannot be al-
lowed to stand still. A story is no ob-
jection, providing it is a natural story
and not something of fiction invented

• Continued on Page 392

375

PAGE 376

Trigger Action Iris

Pictured here is an automatic irising
device I recently constructed for my
camera. It consists of a metal “L”
shaped base with camera screw and
provision for mounting on tripod to
which is attached a handle and trigger
for operating the iris or vignette. Over
an cpening in the upright member of
the base is mounted a Bell & Howell
vignetting device, although the iris
from any large camera lens would serve
the purpose equally well.

Around the rim of the vignette is a
light flexible cable, which leads to the
trigger. This arrangement is counter-
balanced by a small spring so that after
trigger is drawn to close the iris, spring
opens it again when the trigger is re-
leased. Thus, one may iris-in or iris-
out with this device with equal ease.

Purpose of the handle is to permit
operation of the vignette device when
camera is hand held. Handle was taken
from an inexnensive coping saw.

From f/3.5 to f/8. the vignette will
produce regular fades. Beyond this
point and up to f/16. the effect pro-
duced is that of a regular vignette, due
to the increased denth of focus prevail-
ing in the smaller lens openings.

- J. C. Sherard.

REWARD FOR IDEAS!

IF YOU have an Idea for a gadget, trick or
shortcut in filming, titling, editing or pro-
cessing home movies, pass it on to your
fellow cinebugs through these columns. If
your idea is published you will receive two reels
for your efforts. Extraordinary ideas will net
you a roll of film.

Ideas not published will be held for future
publication unless they duplicate Ideas pre-
viously received. Endeavor also to send along
photos or rough sketches illustrating your sug-
gestions. There is no limit to number of
suggestions you may submit.

Important; When submitting ideas, be sure
to mention whether equipment you use is 8mm
or 16mm, enabling us to promptly forward
awards adaptable to your use.

Low Cost Titter

A¥hat started out to be a simple, in-
expensive gadget to enable me to shoot
closeups of flowers, insects, etc., also
proved to be an excellent titer. I made
it readily from a few strips of galvan-
ized metal as shown in sketch, and al-
though the gadget was designed espe-
cially for my model 60 Eastman Cine
Kodak, the idea is applicable to. most
all other makes of cine cameras.

The strip of metal was cut out the
width of my camera with tabs protrud-
ing at one end. These were bent at
right angles and v/ound with tape. These
labs serve to hold the camera and the
tape protects camera against scratches.

At the other end, the base is curled
as shown to act as a stop for the hinged
fi’ame. The frame was made from a
panel of galvanized iron also. The open-
ing is 3 inches by 4 inches, which pro-

vides for a picture or title area of 2%
inches by 3% inches at a distance of 8
inches from the camera — the distance
provided for in designing the gadget.
The frame is soldered to a hinge, as
shown, wfliich in turn is soldered to the
base, thus permitting folding titler in a
compact unit when not in use. The
curled “stop” holds the frame erect in
true vei'ticle position when in use.

When titles are to be photographed,
cards are centered in frame, then se-
cured in place by a bit of scotch tape.
Later I plan to solder three grooved
sections on back of frame to receive and
hold cards.

Of course, use of this device for title
making or close range filming requires
that an auxiliary lens be employed, and
this is held in front of camera lens by
a simple home-made clip.

— W. E. Cummins.

Fading Gadget

Here is an easily made gadget for
making fade-ins and fade-outs by open-

ing and closing the lens iris. Materials
required are one spring clothes pin and
a strip of adhesive tape 1/2 ii^ch, in
width. Measure circumference of iris
ring on lens, then cut strip of adhesive
to fit, allowing an extra II4, inches as
shown in diagram. Cut adhesive tape

as shown in Fig. 1 and fold adhesive ^
surface together as shown by dotted
line.

Next, assemble adhesive on clothes i
pin as shown in Fig. 2, applying a short j
and narrow strip of adhesive around |
each end of the clothes pin as shown at |
“A”. To use this gadget, simply spring j
open the clothes pin and slip the loop
over lens. When clothes pin tension is 1
released, loop of adhesive tape is drawn j
tightly about iris ring of lens. Clothes
pin provides handle or lever by which
the iris may be opened or closed while |
camera is in motion in order to make a j
fade.

— W. D. Garloc\. ||

Splicer Kink i

The efficiency of the film splicer that |
comes as part of equipment of all Ko- .1
dascopes may be greatly improved by J
mounting same on a wooden base and 1;
then fixing two small spring clips at

either side as shown in illustration to I
hold film securely on splicer. The clips j
are available from any stationers or
“dime” store. Strips of felt or other j'
soft fabric should be cemented to inside ;
jaws of clips to prevent scratching of
film.

— V. I. Varner.

PAGE 377

' HOME MOVIES FOR AUGUST

c I n W

Table Top Tripod

1 designed and built this tripod for
use in shooting small objects at ex-
tremely close range such as flowers, in-
sects, etc., close to the ground or in
table-top photography. The design is
such that the tripod base may be ad-
justed from absolute level and flat on
the ground or table, to any angle up to
9 inches in height. The entire gadget
— table and legs — is made of hard-
wood. The table or base “A” is
thick and approximately 4 inches on
each of the three long edges. The short
edge is approximately 2 inches in
length. This table is fitted with a regu-
lation camera mounting screw.

The supports “B” are V2 ii^ch square
and 12 inches long. The ends of these
as well as the leg members are bound
with short strips of metal as a pro-
tection against splitting. Holes were
drilled in the ends of these two pieces
to take the %-inch bolts and wing nuts
used for clamping legs in position at
desired height. The two. supports are
fastened to the base “A” with wood
screws.

Rear leg “C” is 9 inches long and
front legs “D” are 7 inches in length.
These are made of hardwood % inch
thick and % inch in width, with a %
inch slot cut through the center as
shown.

The whole unit may be folded com-
pactly when not in use.

— J. L. 'Whiteman.

Tablu Top Aquarium

Photography of small aquatic animals
in the laboratory is usually a task in
which there is great difficulty in keep-
ing the specimen at the selected dis-
tance from the lens, and hence in proper
focus at the chosen magification.

R K 8 H 0 P

A satisfactory live chamber can be
built easily with two sheets of clear
window glass, a length of heavy wail
“pressure” rubber tubing, two wooden
rectangles of the same size as the glass,
and four C-clamps. The figure shows
the separate parts and the assembly
in end view. This will hold water, can
be made in any size or shape needed,
and does not distort artificial back-
grounds placed behind the assembly. Il-
lumination is uniform. If a thicker cell
is wanted and illumination is sufficient
to obtain good depth of focus through
stopping down the lens, the cell can be
enlarged beyond that using the largest
and heaviest rubber tubing by adding a
flat wooden rectangle to the sandwich,
and another U of tubing. Thus the cell
will consist of rectangle -glass- tubing -
rectangle-tubing-glass rectangle. Small-
er tubing can be used and the flat

rectangle made any thickness needed.

A word of caution in estimating illu-
mination in such table-top aquaria : The
meter should be so shielded that only
illumination from inside (or beyond j
the aquarium reaches the photocell.
Placing the meter almost in contact with
the glass is probably the safest method
for taking a reading.

— Lotus J. Milne.

Editing Board

Sketch shows simple editing board I
recently made for my home movie films.
Material required w-as a piece of select
one-inch pine 8”x28", two angle pieces
of same material and another strip for
the base, 4”x28". Also, 22 metal type-
writer ribbon boxes obtained from a
local typewriter shop.

The wooden sections were assembled
as shown. A single hole w'as drilled in
bottom of each ribbon box and the
boxes mounted upon the board in neat
rows by means of small flat-head
screws. Strips of half-inch adhesive
tape IV2 inches in length were cement-
ed inside the boxes as shown and num-
bered from 1 to 22 as a means of in-
dexing the film strips.

Coiled film strips, when placed in
each ribbon box, expand when released,
clinging securely to rim of box thus re-

^ad^etdy tricLd and
dLort cuts contriLuted

C^ineLii^6

quiring no snaps or hooks to keep them
in order. The film strips or individual
scenes may be placed in the bo.xes from
1 to 22 in the order in which they are
to be spliced, greatly simplifying edit-
ing and splicing operations.

— Lloyd Swanson.

Ultra Close-ups

Owners of most 8 mm. cameras, and
many who owm 16 mm cameras, too, can
increase usefulness of their lenses so
ultra-closeups may be filmed without aid
of auxiliary lens equipment.

All that is necessary is to loosen lens
from mount, mark point at which lens
is in normal. Universal focus position,
and then calculate focusing distance by
number of half and full turns employed
in unscrewing lens from mount.

After the lens has been loosened by
a pair of pliers wrapped with cloth to
prevent scuffing lens mount, merely
take a pocket knife, as illustrated, and
mark the universal focus point on both
lens and mount. Thus it will be easy
to tell ho\v many half or full turns the

• Continued on Page 392

PAGE 378

HOME MOVIES FOR AUGUST

GET G-E PHOTOFIOODS
and get busy!

^^mateur.6 missions

Continued from Page 374

which the boys sought as
props for some of their
scenes. When she learned
that an earthquake was to
be staged by the enterpris-
ing filmers for their pic-
ture, she not only denied
them use of the relics
but declared the youthful
producers should be stop-
ped in their efforts to pic-
ture an earthquake.

Contrasting this experi-
ence was the obliging
manner in which Arthur
W o o d w' a rd, Director of
History at the Los Angeles
Museum aided in securing
original relics and costumes
in addition to serving as a
technical advisor and en-
acting a role in the picture.

First scenes of the pic-
ture were scheduled to be
filmed at La Purisima Mis-
sion, a distance of 350
miles where the State was
quite fortunately doing
reconstruction work. At
this Mission, the project
superintendent had ar-
ranged to loan the services
of a group of Mexican CCC
enrolees to enact bit parts
as Indian Neophytes in the
construction of the early
adobe buildings.

Twice the amateur pro-
duction company was pre-
pared to start out, only to
have unlooked for incidents
delay their departure. Fi-
nally on .June 27th, having
rented 16 Indian wigs and
costumes from a Hollywood
studio costumer, and with
trailers loaded with camera
equipment, dollies, reflect-
ors, spotlight booms, etc.,
the ambitious filmers and
crew prepared to drive to
the distant La Purisima
Mission.

As before, hard luck
continued to dog them.
Pope’s employer, unaware
of the movie venture, came
to him at the last moment,
due to a shortage of help,
and ordered him to work
on what was supposed to
be Pope’s day off. Coming
after two_previous disap-
pointments this order
struck Pope as a thunder-
bolt. He resigned. With
the added worry of a lost
job on his mind. Pope start-
ed his crew location-ward

at 11 :30 that evening. Ar-
riving at 5 o’clock the next
morning, all turned in for
an hours’ rest, then set to
work.

In the midst of prepara-
tions for shooting, it was
discovered that the Direct-
or of History from Los An-
geles Museum was able to
secure but one costume or
robe for the padres instead
of the required two. This
proved highly discouraging
for two of the same kind
were absolutely essential.
The Father at Mission San-
ta Ynez, some miles dis-
tant, was contacted in an
effort to obtain the re-
quired robe. He could of-
fer but a brown one such

Photos Wanted

Readers skilled in still
photography can cash in
on their best shots by
submitting them for pub-
lication to HOME
MOVIES. Photos desired
are scenic and human in-
terest subjects suitable for
article illustrations or full
page title backgrounds.

Prints should be 5 "x7 "
or larger, preferably glos-
sy finish and be accom-
panied by postage for re-
turn in case of rejection.
Prints of published pho-
tos will not be returned.

Address all photos to
the Editor, Home Movies
Magazine, 6060 Sunset
Blvd., Hollywood, Calif.

as those worn by the Mis-
sion fathers at the present
time. Prior to 1870, the
color of the Padre’s robes
was grey, and inasmuch
as this was a Kodachrome
production, costumes of an
authentic color were essen-
tial. Fortunately, after
some hours delay, the
wanted grey robe was ob-
tained from the Mission Fi-
esta Committee at Lompoc,
California.

Some reluctance was dis-
played on the part of the
CCb boys to act in the pic-
ture. The superintendent
had called them together
by sounding the camp’s
fire alarm and when volun-

teers for the picture were
asked to step forward, few
responded. Unlike the
youths of Hollywood, these
boys cared little for movie
careers. Someone men-
tioned the supply of cigar-
ettes that was brought
along, and the full cartons
were offered to those bays
who would volunteer to don
costumes and do a little
acting. This offer proved
successful and at last pro-
duction really got under
way. The services of ten
actors cost the producers
but $3.15. Actually they
were prepared to pay more,
in cash!

A study was made of the
volunteers to select one
who could enact the role
of the Indian carpenter
who was to fashion Father
Serra’s cimde wooden cas-
ket. In the background,
stoically silent, was the In-
dian custodian of the Mis-
sion. The boys at once rec-
ognized in him the very
man for the part and ap-
proached him. A bit re-
luctant at first, eventually
he was persuaded to accept
the part and he proved a
made-to-order actor for the
role.

Surmounting unlooked for
delays in costuming, mak-
ing up the actors, and re-
hearsing, the day’s sched-
uled scenes were finally “in
the can” by sunset. That
night the exhausted troupe
slept soundly, and thus pre-
pared to get an early start
on filming the next day on
scenes depicting the mix-
ing of adobe, fashioning it
into bricks, and the con-
struction of Mission build-
ings.

By this time, the CCC
boys had become quite ac-
customed to their acting
routines and proved easier
to handle. After sunset the
following day a camp fire
scene, such as Father Ser-
ra experienced many times,
was staged and filmed.
Then at eight o’clock, the
troupe moved inside the
Mission for filming the im-
portant scene depicting the
death of Father Serra.
Here all the historic and
hard-to-cbtain props were
arranged in authentic man-
ner plus the bedroom fur-
niture, some of which had
to be constructed by Pope
and O’Neal.

Thus a scene which re-
quired but a few seconds

Ihome movies for august

PAGE 379

61 days—

,„remain to finish
and enter your
film in

Home Movies 1941 Amateur Contest!

Contest Closes September 30th!

We don’t want to hurry you, but September 30th will be here before you realize it! Better not
wait until the last week — finish your contest film and send it along now. Last minute entries
receive no advantage whatsoever over films submitted months earlier. Every film is carefully re-

viewed and graded when first received.

Every movie amateur has an equal chance. Various classifications in contest assure a division for
every type of amateur movie made. Thus the beginning amateur’s film will not be pitted against
that of the advanced filmer in the final judging. The major award this year, as in previous years,
is the handsome Lloyd Bacon Trophy. ENTER YOUR FILM TODAY!

READ THESE SIMPLE RULES!

• Entries limited to 16mm. and 8mm. films. No. 35mm. reductions
eligible. No restriction as to length or subject. You may submit
as many entries as you wish.

• Transportation on entries must be paid both ways by contestant.
Where return postage is omitted, film will be returned via express,
collect. All entries will be promptly returned after review by judges.

• Don't wait until final week to submit your films. Send them in as soon
as ready. They will be reviewed, judged, and graded and a full
report of same filed for consideration at time of final judgment.
Films should be available for a second review by judges at close
of contest if necessary.

• All entries should be titled at least to the extent of a main title.
Adequately titled films improve their standing in the contest. Pro-
fessional or laboratory produced titles are permissible.

• Be sure to label your film reels and containers, giving your name
and address and the title of your production.

• No entry blanks are necessary. Enclose data with entry as to cam-
era. lens, and film used; also, state whether filters, tripod, expos-
ure meter, and any other equipment was used. This information
has no bearing on the judging, but is of interest to the editors.

of (hot

ire Q

^ers

ring

PAGE 380

HOME MOVIES FOR AUGUST

omnJ m ^i!m

i/ie

Cine-Kodak Special

AURWON CINE-SPECIAL 'BLIMP'

Soundproofed enclosure for Cine-Kodak
Special Camera $195.00

AlIBICON SOUND DRIVE

Synchronous molor drive for Cine-Kodak
Special Camera $125.00

AURICON 16-nwi. RECORDER

Variable-area sound on film, for double
system recording -with any synchronous
motor driven 16-mm. camera. Amplifier with
background-noise reduction and mixers for
combining speech and music. Including
dynamic microphone, inslruclions and cases
for Recorder, Amplifier, Accessories $695.00

Ask your Dealer, or write today
for free descriptive booklet.

AURICON

E. M. BERNDT CORP.

5515 SUNSET BLVD., HOLLYWOOD, CALIF.

MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931

j to shoot, involved more
I than three hours cf prep-
j aration. Many of the ac-
I tors fell fast asleep while
I waiting for shooting to be-
I gin. There were some inci-
dental shots to be made
I and these were filmed be-
I fore waking the exhausted
j cast for the big scene. At
I 1 :30 a. m. the final scene
was filmed, the extra cast
j paid off in cigarettes, and
equipment and props hur-
riedly packed for the re-
I turn j o u r n e y to Long-
Beach. Pope and O’Neal
! arrived home that morning
just in time to change
; clothes, snatch a bit of
breakfast a - la - Dagwood
Bumstead, and be off to
I their respective jobs.

I Yes, Pope went to work,
too. His employer, who re-
luctantly accepted his res-
ignation a few day’s be-
i fore, having heard more

about Pope’s conscientious
filming effort, sent word
that he should report back
on the job as soon as he re-
turned.

No little impatience
marked the waking hours
of Pope and O’Neal while
waiting for the film to be
returned from the proces-
sors. The results had to
be good for they would be
unable to return to location
for retakes. Finally the
350 feet of Kcdachrome ar-
rived. Hurriedly screened,
it proved fully up to expec-
tations. For the first time
in many weeks, the two
ambitious movie amateurs
drew a sigh of relief and
relaxed.

This epic of the Missions
is still in the early stages
of production. Much foot-
age yet remains to be ex-
posed. The biggest under-

taking cf all remains to be '
staged and filmed — that of j
the earthquake scene where ;
one of the Missions crum- '
bles to ruin under force of ■
the temblor. This is not to
be staged in minature ac-
cording to Pope and
O’Neal. Full scale sets are ^
now under construction i
and all the technical tricks !
employed by Hollyvmod for ^
a sequence of this kind !
have been studied and will i
be employed by the pair in ;
filming the earthquake epi- |
sode. ;

A review of scenes ,
filmed to date indicates this >
film, when completed, will i
transcend the average am-
ateur undertaking. But ,
regardless of its success, i
the experiences which Pope :
and O’Neal will have en- ;
countered in its filming will :
remain their greatest com- -:
pensation. |

new ideu Liddi

new

Continued from Page 369

le mouied

j shown, not the one that
I you're going to finish up
‘ . . . “any day now.”

I Here is the plot plan,

! which you’ll appreciate
best if you read it along
I with the record of “Jean-
nie.” The figures after
each scene number indicate
j length of the scene and
^ running time.

Scene 1 : ( :09) :09

I In the garden. Close-up
of a beautiful flcw^er as the
child’s hand grasps it. Me-
dium shot from above
^ showing child smelling the
flower, then looking up and
smiling.

; Scene 2. ( :10) :19

Title: “Yes, this is little
Jane. ...” (5 sec.)

Title: “ . . . ‘pride and
I vrejudice’ of the Blank
family!” (5 sec.)

Use a c od 0 r f u 1 back-
I ground for the titles to
blend with preceding shot,
with the same flower as in
Scene 1, added as a decora-
tive note. It can be artisti-
cally placed on one side of
the title board.

Scene 3: ( :21) :40

Long-shot of Jane com-
ing out of the house with
her toys, heading for the
sandpile. Follow with a
brief sequence of her activ-
ities in the sand.

Scene 4. ( :41) 1 :21

Jane’s pet (cat or dog)
appears at the sandpile,
bent on having fun, too.
She plays with him during
the first portion of the
scene ( :23). Then he spies
the house of blocks she has
built and makes short work
of it ( :18) .

Scene 5: ( :27) 1:48

It’s swingtime! Catch
the mood of this scene from
the record. It opens as the
swing swoops past the cam-
era, Jane screaming with
enjoyment. Use several an-
gles for the action, which
ends as “the cat dies
down,” matching the mu-
sic again. If you have no
backyard swing, shoot this
Sunday morning in the
park.

Scene6:(:54) 2:42

Let’s have a teaparty —
and the neighbors’ children
come for the fun. Prob-
ably you already have this
scene from an earlier birth-
day film.

Scene 7 : ( :28) 3 :10

Jane is going to help
mother clean up after the
party, but succeeds only in
smearing hands and face
(.13). Then she comes to
mother who sighs broadly
at the sight, and tidys her
up.

Scene 8: ( :06) 3:16

Close-up of clock, indi-
cating bedtime.

Scene 9: ( :06) 3:22

Quick close-up reaction
shot of Jane pleading for
a little more time. Close-
up of mother smiling but
shaking her head.

Scene 10: (:19) 3.41

Brief scenes as Jane pre-
pares for bed, slips on her
nightie, brushes her teeth,
etc.

Scene 11 : ( :10) 3 :51

With only the dresser
lamp furnishing illumina-
tion Jane climbs into bed,
snuggles happily between
the covers. The scene fades
out as the music comes to
a quiet ending.

(Using one photoflood
bulb in the lamp, place an-
other flood or two at a dis-
tance to soften the shadows
in keeping with the night-
time atmosphere.)

This can easily be the
most popular movie in your
library, because in cutting
it to fit the length of the
recording, you automatical-
ly avoid a fault common
with many “family mov-
ies”— ^that of retaining too
much footage in scenes.

PAGE 381

HOME MOVIES FOR AUGUST

WuLtLmV FELLOWS

FRIENDLY FRATERNITY

OF MOVIE AMATEURS

Mew Chapter

Another 100% Reel Fel-
ows club has just completed
organization in Brooklyn,
:pew York, and will be
iQc n 0 w n as the Brooklyn
Chapter of the Reel Fellows,
ijapplication for charter has
ibeen granted and the club’s
limembership now comprises
the following members;
Fred Beraud, George La-
zati, Tom Rizzo, Salvatore
D’Amico, Karl Ebel, Harry
Zwickovich, Robert Drew,
and Arthur Thomas. Other
membership applications
will continue to be received
as no limit has been set as
yet on the number of mem-
bers to be admitted to this
chapter.

Detroiter to Organize

! Reel Fellow A. J. Lustig,
I of Detroit, Michigan, seeks
to communicate with Reel
i Fellows residing in and
, around Detroit, also those
j wishing to become members
of the Reel Fellows, for the
I purpose of establishing the
Detroit chapter cf this fast-
? growing organization of
'I movie amateurs.

‘ Reel Fellows and other
[i| amateurs interested in this
• project are advised to com-
municate with Mr. Lustig
I at 9009 Grand River, De-
i troit.

I Cuntest Winners

I Reel F ellows Mildred
i Caldwell and Clarence Ald-
' rich captured first prizes in
■ the 8 mm. and 16 mm. divi-

II sions respectively in the

; Bathing Beauty Filming
: Contest conducted by the
City of Long Beach ( Calif. j
recently.

Each year the city of Long
Beach conducts a Bathing
Beauty contest which at-
tracts beautiful girls from
the entire southland. An ad-
junct to the event is the
Filming Contest in which
both still and movie camera
fans take part.

This year over 100 cine
cameraists attended the
event prepared to film a
complete documentary of
the contest. Many brought
step ladders and other con-

trivances to enable them to
secure angle shots or to as-
sure a clear field of view
over the heads of the spec-
tators.

The two Reel Fellows,
Caldwell and Aldrich, were
among those who came pre-
pared, and thus secured the
shots that made their pic-
tures winners.

Reel Fellows at Sea!

Thomas E. Harries and
Jack M. Roper, crew mem-
bers of the S.S. Baranof,
coastwise vessel of Alaska
Steamship Company, have
made application for mem-
bership in the Reel Fellows
and request their letter also
be considered as formal ap-
plication for a charter for
the first nautical Reel Fel-
lows chapter to be composed
of members of the crew of
the S.S. Baranof as well as
other vessels of the com-
pany. Needless to say the
applications have been ap-
proved, launching what is
believed to be the first or-
ganized group of movie am-
ateurs at sea.

Emanuel Joins

Another movie amateur
with several renowned pic-
tures to his credit has joined
the Reel Fellows. He is De-
metris Emanuel, producer
of the 16 mm. picture, “El
Lobo,’’ elected to the 1940
roster of Movies of the
Month, and “On the Spot,”

REEL FELLOWS!

This department chronicles
the doings of Reel Fellows
from coast to coast. Why not
keep your brother Reel Fel-
lows informed of your activi-
ties through this column?
Write the editors, giving
details of your filming activi-
ties, future filming plans, or
interesting experiences en-
countered through your affi-
liation with this new organ-
interesting experiences
encountered through your
affiliation with this new
organization.

Any photos of your activi-
ties will be welcome and
every consideration will be
given to their publication
when space permits.

Masted TITLE KIT

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The Brown Precision Titler is endowed with
advancements which far surpass any other title
maker on the market. It has optical bench pre-
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etc. Quick and easy alignment of the camera lens
with the easel assures properly centered titles.
The outfit includes: Opal glass, clear glass, and
cork backgrounds. 9" x 12" . . . two reflectors
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from

American Bolex Company, Inc, 155 e. 44tLi street, new yorkcity

PAGE 382

HOME MOVIES FOR AUGUST

Don’t Let
Guessing
Spoil Yonr
Pictures

Use a

WESTON

MASTER

EXPOSURE METER
And Be Sure

Let today be the beginning of "per-
fect picture-taking" for you. A new
Weston Master in your hand is a vir-
tual guarantee of professional results
with every still or movie camera, in
color or black and white. Designed
tor those who appreciate the best,
the Master has an increased Light
Span permitting accurate measure-
ments from 1/10 up to 1600 candle
per sq. toot, extreme high sensitivity
for all low brightness scenes and her-
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greater accuracy, stability and dura-
bility. The Universal model shown
above is

$24.00 LIST

Our Price $21.60

and we'll make a

LIBERAL TRADE-IN
ALLOWANCE

on your present meter

! USE THIS COUPON ^

j 32nd St. near 6th Ave., N. Y. I

j Please let me know how much you will |
I allow me for my old exposure meter toward |

I the purchase of a Weston Master. j

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soon to be given extensive
screening among amateur
cine clubs. Emanuel’s pro-
ductions are always highly
dramatic. An actor of note,
he also has a keen camera
eye as well as a flair for
writing amateur screen sto-
ries. Other Reel Fellows are
bound to profit from con-
tact with this serious-mind-
ed cinefilmer.

HnilywDod

Organization of the par-
ent Reel Fellows club has
been going on quietly dur-

ing the past several months
in Hollywood, where the
Reel Fellows organization
was first formed. Applica-
tions for membership are
continuing to be received
and as quickly as the quota
is filled officers will be
elected and activities of
the Hollywood Chapter w^ill
officially get under way.
Plans are to make this
chapter a model for all
others to follow. Here
organizational, entertain-
ment, and filming projects
will be explored and the re-

sults will be published and
offered as a pattern for
other members and chap- '
ters. ‘

Starts Filming

Reel Fellow J. Craig Dun-
lavy of Sioux City, Iowa, is
preparing to commence pro-
duction of a civic documen-
tary film extolling the bene-
fits of residence in his home
town — Sioux City. A shoot-
ing script is now being pre-
pared and initial shots will
be made about August 5th.

eJe noue

i dliot transitionA

• Continued from Page 368

largement of the scene shot
as described above. Only
by making several tests for
exposure or by shooting the
transition over again at va-
rious stops can exposure be
insured that will match per-
fectly with the original
scenes. The footage re-
quired for such transitions
is comparatively short and
in most instances may not,
when edited, consist of a
full 12 inches of film.

Amateurs who have still
more patience than making
this transition requires will
be interested in filming a
circular or vignetting wipe-
off wipe-on effect similar to
that occasionally seen in
theatrical pictures. With
this transition it is possible
to use scenes in which
there is movement or rapid
action. The effect is pic-
tured in Fig. 2. The scene
of the man rowing on the
lake gradually disappears
in a vignette effect while
the succeeding scene ap-
pears. Unlike a lap-dis-
solve each scene or the por-
tions of it remain sharp
and clear until the final
frame of the transition.

To make such a transi-
tion, frame enlargements
must again be employed. A
satisfactory accessory for
making 16 mm. film en-
largements is the frame
enlarger marketed by East-
man Kodak Company. For
8 mm. film Harrison &
Harrison of Hollywood
market a very satisfactory
enlargerr— HL/acking either,
the average amateur may
have enlargements made of
his films with any ordinary
dark room enlarger and
most photo dealers or pho-

to finishers are prepared
to render such enlarging
service at nominal charge.
Of course, the movie ama-
teur who owns a still film
enlarger is in better luck
and can readily make his
own enlargements of movie
frames.

Two series of enlarge-
ments must be made — one
each of the last 16 frames
terminating in the transi-
tion and one each of the
first 16 frames following
it. Care must be exercized
of course to insure a
matching contrast in expo-
sure of all 16 prints of
each series. Each enlarge-
ment should be numbered
on back of the print to in-
dicate its position in the
series.

As with the first transi-
tion procedure, a titler
should be employed to hold
the enlargements in place
and act as a support for
the camera. While the
transition may be filmed
disappearing and re-ap-
pearing in a variety of
forms, we shall select for
description that of a circle
as illustrated in Fig. 2. In
order to trim each enlarge-
ment of the second series
of photos to be superim-
posed over those of the first
series, a simple guide may
be drawn upon a sheet of
paper as shown in Figs. 3
and 4. One by one, each of
the enlargements in the
second series will be trim-
med to correspond with one
of the circular lines in Fig.
4, beginning at the outer
edge and working toward
the center. When all of the
enlargements have been

cut out as required, they '■
are pasted over the corre- »
spending enlargement in i
the No. 1 series. ^

The coupled enlargements
are then placed in the titler
and photographed, one ex-
posure for each enlarge-
ment, so that when filming
is completed there will be
16 frames exposed in order
similar to the arrangement
shown in Fig. 2. Lights in
the titler should be so ad-
justed that no shadows will
appear where edges of the
No. 2 picture joins that of
the No. 1.

-I

The same difficulty al-
ready referred to for the
first transition effect may
also be encountered in film-
ing this one, but it likewise
may be overcome by care-
ful exposure, shooting test
strips before hand, and by
careful choice of printing ^
paper in the enlargements.

Admittedly, these tran-
sitions are no mere child’s
play to achieve. But for
the exploring movie ama-
teur eager to develop new
techniques and effects in
his filming, their making
will provide much pleasure.

TO OUR READERS

We will appreciate calling our
attention to any misleading claim
made by any advertiser in HOME
MOVIES whose product or service
proves unsatisfactory.

HOME MOVIES FOR AUGUST

PAGE 383

IThe Reader

SPEUS

Movie History

Here’s a letter that
proves even the old timers
are interested, in amateur
movies, and better still —
read Home Movies!

Gentlemen: I notice in
the July number of Home
Movies, under the column
“Miscellany,” mention of
the first movie work in the
Department of Agricul-
ture, in which it is stated
that Lewis Williams, illus-
trations chief in the Publi-
’! cations Division, filmed a
ij flight of the Wright Broth-
I ers at Fort Meyer, Va. Al-
so this sentence : “This was
the first film to be acquired
J| by the Department.” This
! i statement is not exactly
i] correct.

I was in the Bureau of
i Animal Industry, Dept, of
i. Agriculture, and in 1908,
|. needing a movie camera
J for Department work, an
order was placed by me to
; Dr. C. Frances Jenkins of

Hthis city for the construc-
tion of a 35 mm. camera.
I This was the first movie
camera in the Department
of Agriculture. I loaned
y the camera to Mr. Wil-
jj| liams, and several films
were made by Mr. Clime of
p: his section, under the direc-
i tion of Mr. Williams.

,1 I took the camera with
me when I went to Seattle
,1 to represent the Depart-
! ment of Agriculture in the
; work of the Bureau of Ani-
f.: mal Industry, at the AYP
, Exposition in 1909. I made
\ a film there of President
I Taft reviewing the live
I stock parade, although he
, was averse to appearing
in any film. While the
Presidential party was pro-
ceeding west I finally re-
ceived a wire from Archie
Butt, his Secretary grant-
ing me permission to make
' the film for the use of the
, Department. Mr. Butt was
I one of the unfortunates to
lose his life in the sinking
of the Lusitania.

; Later I made for the use
of the Department a film
of the life history of the
Texas fever tick, and also

showed the dipping of cat-
tle to destroy the tick that
caused the disease. This
film was of great value in
the southern states that
were infected, in educating
the farmers as to the value
of the dipping vat in the
eradication of the ticks,
thereby increasing the
value of their cattle.

The camera in question
was later used in showing
the growth of plants, and
later when better cameras
were produced the first
camera was sold at Govern-
ment auction for a song.

The above is early movie
history, and I still have
small bits of film that I
made on this first camera.

— Joseph Abel,

Washington, D. C.

Title Suggestion

This is the sort of con-
structive suggestion that
builds for a greater Home
Movies magazine. Thanks
reader Woodrich.

Gentlemen : As an aid to
every movie amateur in
America, I suggest that you
publish in your “Title
Backgrounds” department,
a title card bearing an out-
line and the name of each
state in the Union. These
would not only benefit the
stay-at-home filmer, but
the tourist who travels
with his camera. If you
cannot publish the entire
series at one time, I would
suggest that as many as
possible be published each
issue to facilitate accumu-
lation of the entire forty-
eight as rapidly as possible
which would benefit those
of us with considerable
footage embracing several
states.

— Edw. W. Woodrich,
Chicago, III.

Nkw Club Furming

If yon live in vicinity of
Harrisburg, Pa., want to
join a club, this is for you\

Gentlemen. We have just
formed a new amateur cine
club in Harrisburg known

''Looking For A Fourth" made by William
Tiger with a 2V4 x' 3Va Series B Graflex on
Eastman Film. Medal winner in the Graflex
Golden Anniversary Picture Contest,

See wliat you get
with a GRAFLEX

TOOK into the hooded ground glass panel of a Graflex and you see
' your subject . . . full picture size and right side up. Check the
focus, composition, and expression . . . release your 1/1000-second
focal plane shutter . . . and you get what you see — as you want it.
The Series B Graflex, Revolving Back (illustrated), with Kodak
Anastigmat //4.5 lens is available in 2}zi x ijzj, 3H x and 4x5
sizes. See all three at your Kodak dealer’s.

Graflex and Speed Graphic Cameras are made by the Fotmer Graflex Corp.

EASTMAN KODAK COMPANY, ROCHESTER, N. Y.

outstanding
splicer

For I
1 6mm V.-A

For
8mm P

NEW IMPROVED

Seemann splicer

"Your films are only as strong
as their weakest splice."

The new SEEMANN Splicer gives you
these exclusive features:

1. Tension pins hold film taut, simplify
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2. 8mm film fits register pins regardless
of how it comes off reel. No need to
reverse or turn it over.

3. Dry scraper — most practical emulsion
remover, especially for Kodachrome.

4. Single operation pressure
bar for fast and permanent

'■ ' splices.

5. Cement bottle anchored in
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6. Mounted on hardwood base.

PRICE, only $3.95

DEMAND

THE Seemann
1 ITLER

Makes all types of
typewritten or hand-
lettered titles, includ-
ing scroll and roiling.
Adjustable to fit ail
8 or 16mm cameras.

With reflectors $9.95
Without 6.95

Seemann EDITING EQUIPMENT!

THE NEW Seemann EDITEER

A complete ouHit for efficient editing — consists
of a Seemann Splicer, two geared rewinds and
illuminated optical viewer — all mounted on a
hardwood board with recessed editing compart-
ments. For 8 or 16mm film. Price . . . $13.95

THE Seemann
SPLICEMASTER

A junior editing
board co m p r isi n g
Splicer and Rewinds,
mounted on hard-
wood baseboard,
slightly elevated at
back to afford "draw-
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For 8 & 16mm film.

ON SALE AT ALL LEADING DEALERS •WRITE FOR FREE LITERATURE

6628 SANTA MONICA BLVD., HOLLYWOOD • 86 THIRD ST., SAN FRANCISCO

PAGE 384

HOME MOVIES FOR AUGUST

Glorify
this scene
in Ncitnral
Color!

Never to be forgotten scenes glorified in
natural color or in just plain black and white,
are so easy to make — and so economical with
this new 8mm Camera sensation. It gives you
more for your money. ★ Eastman Magazine Load-
ing. •A’ Turret lens front, mounts three lenses.

Five operating speeds. It's loaded with new
and worthwhile features. See Perfex Movie and
Sfill Cameras at your dealers. Literature free!

With F2.5 Lens $59.50
Case, Extra $6.50

CANDID CAMERA CORP. of AMERICA

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Quality Bulk Movie Film

8mm • 9V2mm • 16mm • 35mm

SUPER PANCHRO R EV E RSAL— Scored
Speed 24-18 — Anti-Halo Backing.

100 ft. 32 ft.
Double 8 . . . $3.60 $1.30

Single 8 . . . 2.00 .80

16 mm 3.25

MICROGRAN PANCHRO REVERSAL— Scored
Speed 12-8 — Anti-Halo Backing, Extra Fine Grain
100 ft. 32 ft.
Double 8 . . . $3.30 $1.20

Single 8 . . . 1.85 .70

16 mm. ... 3.15

SUPER CINEPAN PLUS R EV E RSAL— Not Scored
Speed 64-40 — Non-Halation Base

100 ft. 33 ft.
Double 8 . . . $3.85 $1.45

Single 8 . . . 2.15 .80

16 mm 3.50

SUPER CINEPAN REVERSAL— Not Scored
Speed 24-16 — Non-Halation Base

100 ft. 33 ft.
Double 8 . . . $3.35 $1.25

Single 8 . . . 1.90 .70

16 mm 3.25

CINECHROME SEMI-ORTHO REVERSAL
Speed 8-2 — Non-Halation Base — Not Scored.

100 ft. 33 ft.
Double 8 . . . $1.75 $ .75

Single 8 . . . 1.15 .50

16 mm 1.45

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100 ft. 33 ft.
Double 8 . . . $1.35 $ .60

Single 8 . . . .90 .40

16 mm 1.00

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Also DuPont Lavender, Pink, Light Amber.
Complete New Reversal and Title Instructions Free
with Film Orders. Separately, 25 cents each. Cash,
check or money order for quick service. Deposit
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funded or credited. No stamps, please.

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Double 8 $ .35 Keystone St. 8 . .

Univex 20 16 mm., 50 ft. . .

Eastman Double 8 . .40 16 mm., 100 ft. . .

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MISCELLANEOUS

BAIA Precision All-Metal 8 mm. Slitter . .
FOTOFADE DYE for making Chemical Fades
FOTO-FADE WIPE-OFF TAPE, per roll .
CINEITNTS, 6 Colors and Instructions . . .
DuPONT VISCOSE SPONGES, each ....
HOME MOVIES. Back Issues, 1936-37-38 .

Not all months in any year, 1940-41, each .
TITLE DEVELOPER, tubes, each make 16 oz.

$2.50
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3.00
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W'rite for Complete NEW Price Lists

W. STUART BUSSEY FILM LAB.

17 E. St. Joseph St. Indianapolis. Ind.

as “Harrisburg Cine Club”
and will appreciate your
adding our name to your
Directory of Amateur Cine
Clubs. Also, through the
columns of Home Movies,
would you kindly extend
our invitation to movie am-
ateurs in this vicinity to
become a member of this
club. Membership is unlim-
ited at present and open to
both 8 mm. and 16 mm.
filmers. M. Weitzel

Harrisburg. Pa.

Wants Scenes

Here’s opportunity for
several amateio's to help a
brother filmer out w i t h
sale or exchange of needed
scenes:

Gentlemen : I should like
to swap or purchase shots
running from 6 to 10 feet
in length of each of the fol-
lowing subjects :

Statue of Liberty,

Lower Waterfront, N. Y.

Wall Street Buildings,
Golden Gate Bridge,
Dome of Capital,
Wash’ll., D. C.

1 will either swap scenes
made in the Ozarks, for this
footage, or I am willing to
pay a reasonable amount
for same. Also, prefer
these scenes to be shot at
sound speed of 24 frames
per second.

— J. Glenn Mitchell,
920 Broadway,
Joplin, Mo.

time

• Continued from Page 363

before hand as to how they
will be edited in the final
completed picture. He
failed to grasp the import-
ance of editing his scenes
for greatest possible audi-
ence interest.

In a day’s or a week’s
vacation shooting, all of us
will have some scenes or a
sequence of shots that stand
out from the rest. These
can be the highlight, the
climax of our vacation pic-
ture. It is just as important
to have a climax — a high
point of interest — in a doc-
umentary film as in a scen-
arized movie. It’s the cli-
max that gives the picture
punch !

Good photography does
not always decide the im-
portance of a scene. It is
audience reaction that we
should really aim for in ed-
iting our pictures. A beau-
tiful landscape composition,
no matter how colorful may
not have as much appeal as
m i g h t an underexposed
shot cf a pair of puppies at
at play. All of us have
seen newsreel scenes in the-
atres that were either un-
der- or over-exposed, out of
focus, etc., but because of
their subject matter they
were retained in the reel.
Scenes describing the sink-
ing of a ship at sea, for ex-
ample, always make good
screen copy regardless of
photographic quality.

Of course, with the docu-
mentary or “record” film,
the amateur has more op-
port unify^o juggle his se-
quences in editing than in
cutting a picture filmed ac-
cording to a shooting
script. In filming scenes ac-
cording to a pre-arranged

uaca

tion

movies

• •

plan, the climactic shots
are naturally made at the
right time and successfully,
too, so that rarely is there
need to “cheat” or “juggle”
scenes or sequences in the
final editing to build for a
climax.

Where one finds upon re-
turning home that he has
failed to film a sequence of
shots of sufficient outstand-
ing interest to be consid-
ered as a climax for the va-
cation movie, oft times a
little post-vacation filming
will supply the necessary
scenes. Such shots may
concern a running gag —
always sure to pep up any
movie. The high point
could be a shot of the front
porch steps adorned with
several dozen bottles of
milk — the result of failing
to discontinue milk deliv-
eries before departure. This
would be one of the final
scenes of your travel pic-
ture. Near the beginning
would be a shot of the milk

man leaving a quart of
milk. Later in the picture
would be another shot as
the milkman places the sec-
ond quart along side the
first, scratching his head
with a puzzled expression
as he contemplates the bot-
tle left the previous morn.
Then at intervals through-
out the picture would be
tight closeups of the milk-
man’s hand depositing a
bottle of milk on the steps.
But not until the final shot
in this sequence is the full
scene disclosed showing the
several dozen bottles which
have accumulated in your
absence.

The milk bottle idea is
an old gag of course, but it
illustrates the point. The
idea can be adaptable in
other ways and I’m sure
that most of you already
have visualized just how
you would twist this gag to
suit your own convenience
should your vacation mov-
ies require added punch.

ADDITIONAL FILTER FACTOR DATA
The editors regret any inconvenience caused readers of Home Movies
by omission in the past from our Filter Factor Chart of factor numbers
for Kin-O-Lux films. Latest factor data, furnished by Kin-O-Lux for all
their films, appears below and will be incorporated into the regular
Filter Factor Chart appearing in future issues.

FILM

Filter

De-

scription

K-1

Light

Yellow

K-2

Medium

Yellow

K-3

Dark

Yellow

Aero 1

Light

Yellow-

Green

Aero 2
Medium
Yellow-
Green

Orange

23-A

Light

Red

Kin-O-Lux No. 1

Kin-O-Lux No. 2

Daylight

Mazda

Daylight

Mazda

NOT RECOM.MENDED FOR FILTER USE

Kin-O-Lux No. 3

Daylight

1.5

2.5

Mazda

1.5

1,5

1.5

Kin-O-Lux No. 3

Daylight

1.5

2.0

1.5

2.5

Gold Seal

Mazda

1.5

Note- Polarization filter factors are constant with all emulsions, all makes of films, since there is
no absorbtion of visible color involved in their use.

PAGE 385

Ihome movies for august

Processing (S. C. Thomp-
son, San Antonio, Tex.)

Q. Which gives the best
resvlts in reversing of
home movie film : the closed
tanks and spiral spools sim-
ilar to the Steinman Sys-
tem or the open reels and
drums. Also please tell
hotu I can reduce 16mm
film to 8mm.

A. Open reels and drums
are preferred for amateur
use in processing home
mo\de films for two rea-
sons: 1 — because it is the
simpler process of the two ;
and, 2 — because it is pos-
sible to keep a visual check
on the film during process
of development. In addi-
tion to this the reels and
drums permit more thor-
ough agitation of film in
the solutions and with most
equipment of this type, less
solution is required.

To reduce 16mm. to 8rnm.
special optical reduction
printers are required. It
is possible to build such
equipment, but unless you
would have continued use
for it, you would probably
save money and time by
sending your 16mm. films
to one of the several labor-
atories specializing in re-
duction prints.

Telephoto Area (F. R.

Aspegren, Topeka Kas.)

Q. Ho:v much reduction
in the area or field is cov-
ered by a IV2" 8mm. tele-
photo lens compared to the
regudar half-inch lens?

A. The I'/i" telephoto
lens covers only 1/3 the
area of the regular 1/2“
regardless of the distance
from camera to subject.

Color In Titles. (J. H.

Moore, Seattle, Wash’n.)

Q. Recently Home Mo-
vies recommended placing
sheet of colored cellophane
over large black and white
illu.st rat ions in order to use
same as backgrounds for
Kodachrorne titles. I tried
this and was troubled by
the cellophane reflecting
light back into camera lens.

A. Use of cellophane as
described can be successful
if lights are properly posi-

PltASE

o Readers; This departmerit
is for your benefit. Send in
your problems and our tech-
nical board of professional
cameramen will answer your
question in these columns. If
an answer by mail is desired
enclose addressed stamped
envelope.

tioned. However, still an-
other method which may
prove more successful is to
place cellophane over light
reflectors so photc.floods
will cast colored light on
the illustrations. In eith-
er case, be sure to make al-
lowance for lessened dens-
ity of light on title- — in-
crease your exposure a
trifle.

Effects Devices (F. K.
Fullmer, Salt Lake
City, Utah).

Q. Referring to adver-
tisements tvhich have ap-
peared in your magazine de-
scribing the B ai a Cine
Transito, and the Bool Cine
Fader, will you kindly in-
form me whjat is the differ-
ence between these two ac-
cessories? Also what is the
term. “Vignette” in movie
making?

A. The Baia Cine-Transi-
to is attached some distance
before the camera lens and
is used chiefly for making
wipe-cffs, fades and dis-
solves. The Bool Cine Fader
is attached right to the lens
barrel. A spring motor
mechanism controlled by
cable release motivates two
metal leaves which move
across the lens for various
effects that differ from
those attained with the
Baia Cine-Transito.

A vignette effect is ob-
tained by use of an iris in
front of the lens, closing or
opening it gradually at the
beginning or end of a scene.
A vignette differs from a
fade in that the vignette ef-
fect appears as a gradual
decreasing or increasing
circular picture aperture on
the screen ; whereas the
fade results in a diminish-
ing of intensity of the whole
scene ending in complete ex-
tinction or opacity.

CRAIG PROJECTO-EDITOR

For Action Editing the Hollywood Studio Way
A smoothly animated viewing device allowing careful in-
spection, slow motion if desired, of acfual movement on
its brilliant miniature screen. Use it to transform random
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8mm model, as illustrated above, complete with

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8mm Projecto-Editor alone 22.50

IBmm model with Sr. Splicer and Sr. Rewinds 52.50
Write for NEW FREE FOLDE.R OF CRAIG EDITING NEEDS

CRAIG CINETINT
DYE KIT

Ideal for artisticall-y ac-
cerrtuating such desired
effects as Moonlight,
Marine, Flesh Tone, Fire,
etc, -or for tinting black
and white titles used
v/ith Kodachrorne. Dyes
are crystal-clear, insur-
ing perfect transpar-
ency. Colors are Red,
Orange, Purple, Blue,
Amber, Green . . . S3. 00

CRAIG FOTOFADE
and FOTOFADE KIT

For joining odd scenes
with smooth FADES or
WIPES — dissolves one
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abrupt loss of continu-
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use. COMPLETE IN-
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CLUDED. ONLY Sl.OO.

Kit of wat«rprool wipe-oH
tape. FOTOFADE arrd in-
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CRAIG MOVIE SUPPLY CO

1053 SOUTH OLIVE STREET,
LOS ANGELES

1109 E. MADISON ST.
SEAHLE

149 NEW MONTGOMERY STREET,
SAN FRANCISCO

j “Animated Cartoons”

WALTER T. FOSTER

I Interested in Animated Cartooning? Here's one of the best
I ' self-teaching guides ever published. Begins with the fun-
damentals of animation and leads the beginner along the
\ ’ route of cartooning as practiced by leading Hollywood studio
animators. An ideal elementary guide book for the amateur.

.fl.OO

' , POSTPAID

VER HALEN PUBLICATIONS • 6060 Sunset Blvd., Hollywood

' I __________

PAGE 386

HOME MOVIES FOR AUGUST

OERZ

KINO-HYPAR

LENSES

f:2.7 and f:3

For regular and color
/novies of surprising
quality — high chro-
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I Focal lengths 15mm to lOOmm — can be fitted
in suitable focusing mounts to Amateur and
Professional Movie Cameras.

♦

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— Patented —

For I6mm Movie Cameras — voids PARALLAX
between finder and lens — provides full-size
ground-glass image magnified 10 times. Adapt-
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ups. Extensively used In shooting surgical op-
erations, small animal life, etc.

GOERZ P,„uUnx-Free FOCUSER
and FIELD FiKDER CONTROL

No more off-center pictures, for Filmo 121 and
Simplex-Pockette magnifies 4 and 8x.

For Detailed Information Address
Dept. HM-8

C. P. Goerz American Optical Co.

317 East 34th St., New York

American LensMa!<ers Since1899

WIDE-ANGLE

SHOTS WITH YOUR
8mm CAMERA

$2100

I When you desire to take WIDE-ANGLE
3 pictures with your 8mm movie camera,
I simply screw this Mack Wide-Angle Aux-
I iliary Lens into the front of your regular
I camera lens. Your shots will then take
I in twice the width of field covered by
j your regular lens.

Being fully corrected optically, the Mack
Wide-Angle Auxiliary Lens makes not
only clear, accurately focused black and
white shots, but also brilliant color pic-
tures when you use Kodachrome Film,
j Models for all regular 8mm movie camera
\ lenses, fixed focus or focusing, of apertures
from fl.3 to f3.5.

■ Ask your dealer, or write direct to

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p ENCINITAS, CALIFORNIA

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•

— eAdence

* Contmued from Page 364

aii g.ood

ing tc. plot of the story.

Then we cut to a close
shot showing base of the
cliff — another location, by
the way, with the camera
set on a high elevation and
shooting down — and we
stai't the camera and leave
it “on” the scene a few
frames before the body of
the falling actor lands on
the ground before the cam-
ei'a — the spot intended as
the base of the cliff. By
allowing those few frames
to precede appearance of
the body in the scene, we
have added still further to
the illusion that it had fall-
en from a great height.

In order that you may
more readily visualize this
style of camera and editing
technique we have pictured
here scenes taken from a
professional picture. In the
“A” series of pictures (top
row) we see a man at-
tempting to escape three
policemen by jumping from
a balcony. In A-1 the man
has jumped over the bal-
cony rail. But instead of
following him with the
camera as he lands on the
floor below, the editor cut
to a close shot of another
man, also in pursuit as he
climbs through the ropes
of a fight arena. Then the
camera picks up the man
in A-3 as he falls to the
floor after jumping from
the balcony. Thus by hold-
ing back the visual result
of the jump by insertion of
scene A-2, suspense is in-
creased and at the same
time the added reaction of
the scene A-2 increases the
tempo of the sequence.

The result of good tim-
ing is further illustrated in
the “B” series of pictures
also reproduced from a pro-
fessional movie. In B-1
we see a fighter delivering
a terrific blow to his op-
ponent. But instead of
immediately showing the
result, there is a pause
while scene B-2 flashes on
the scregrushowing the re-
action of two spectators.
And then scene B-3 shows
the result — the opponent,
knocked out, taking the
count from the referee.

Now this sort of timing

of action is applicable to
the simplest home movie —
shots of the baby, children
at play, or record movies of
the family — if you’re real-
ly interested in injecting a
little professional tech-
nique into your pictures.
For example — those baby
shots. You can make them
interesting if you break up
the series of shots of just
the baby. After all you
should not spoil it too ear-
ly by having it dominate
every scene ! Let ’s say you
have shots of the little tot
reposing in its bassinet
laughing, asleep, and cry-
ing.

Shoot a scene showing
mother rocking the baby to
sleep then placing her in
the bassinet. Follow this
with the closeup of the
baby asleep, then back to
a shot of mother and other
members of the family tip-
toeing out of the room. Fol-
low this with a shot show-
ing the last one out of the
room accidentally letting

mouieA ... ;

(

the door slam shut. Of ^
course this awakens the J
baby, but don’t cut imme- H
diately to the baby crying; I
insert a shot of mother as I
she registers slight annoy- ;
ance and turning to re-en- 1
ter the room ; then the
closeup of the baby crying. 1
A completed sequence like 1
this will have much great- ij
er appeal, especially to
those outside of the family i
to whom you’ll want to i
screen your movies, and at
the same time, it provides i
opportunity to work other |
members of the family in- p
to the movie in a perfectly
natural way. j

To those planning home j[fi
movie scenarios, we cannot li
too strongly advise them to ii
practice and perfect this Ic
technique. Accually it is i
the basis of all profession- j,
al theatrical movies. Nat- i
urally only the rudiments l
have been illustrated here,
but even in its most ele- |
mentary stages, this tech- |
nique of timing is definite- i
ly elevating in results. |i

Movie of the Month

• Each month the editors of
HOME MOVIES select the best
picture sent in for analysis and
designate it "The Movie of the
Month." This movie is given a
detailed review and a special
leader is awarded the maker.

This award does not affect the
eligibility of such films for entry ir
the annual HOME MOVIES CON-
TEST. They are automatically en-
tered for rejudging with those
films submitted especially for the
annual contest. Films awarded the
honor of MOVIE OF THE MONTH
during the past 12 months are:

1940

SEPTEMBER: "Angels Are Made
of Wood," produced by Herman
Bartel, New Rochelle, N. Y. An
8mm Kodachrome film 200 feet in
length. (Winner Lloyd Bacon Tro-
phy, 1940 Amateur Contest.)

OCTOBER: "Driftwood," pro-

duced by A. O. Jensen, Seattle,
Wash. An 8mm Kodachrome film
400 feet in length.

NOVEMBER: "Father's Time,"
produced by Raymond Fosholdt,
Long Beach, Calif. A 16mm pic-
ture, 400 feet in length.

DECEMBER: "Spokane and The
Inland Empire," produced by Bur-
ton Belknap, Spokane, Washington.
A 16mm Kodachrome picture, ap-
proximately 800 feet in length.

1941

JANUARY "Three- Wishes" pro-
duced by Earl Cochran, Colorado
Springs, Colorado. An 8mm Koda-
chrome picture, 125 feet in length.

FEBRUARY: "Happy Landing,'
produced by Mildred Caldwell,
Long Beach, Calif. An 8mm Koda-
chrome picture, approximately 400
feet in length.

MARCH: "Home Town," pro-
duced by West W. Champion,
Fresno, Calif. A 16mm picture,
1600 feet in length.

APRIL: "Fledglings," produced
by Dudley Porter, Beverly Hills,
Calif. An 8mm Kodachrome pic-
ture, 150 feet in length.

MAY: "A Pain in the Night,"
produced by Rev. Raymond G.
Heisel, Elmira, N. Y. An 8mm
Kodachrome picture, 125 feet in
length.

JUNE: "Tropical Ecstasy," pro-
duced by Dr. Roy L. Gerstenkorn,
Beverly Hills, Calif. A 16mm Ko-
dachrome production, 350 feet in
length.

JULY: "Within These Hills,"

produced by J. Glenn Mitchel,
Joplin, Missouri. A 16mm Koda-
chrome picture, 800 feet in length,
with sound on disc recording.

AUGUST: "Dedication," pro-

duced by Alex W. Morgan, To-
ledo, Ohio. An 8mm. Koda-
chrome picture, 400 feet in
length.

HOME MOVIES FOR AUGUST

PAGE 387

•TITIE TROUBLES

By GEORGE W. CUSHMAN

[F you have any ques-
tions concerning titles or
title making, Mr. Cushman
will be glad to help you. You
can address him in care of
this magazine or direct to
his home address, 3425
Witmer Parkway, Des-
Moines, Iowa. Include such
information as the type of
film and developer used,
lights, exposure, etc. Send
along a sample if possible,
and don’t forget to enclose
a self-addressed stamped
envelope if you wish a re-
ply by mail.

Q. So many of my titles
sound simple and amateur-
ish and I am wondering
how I can reivrite them so
that they don’t sound so
“home - made.” — S. E. L.
Lima, Ohio.

A. They may sound that
way to you, merely because
you have seen them and
read them so many times.
Perhaps you have not been
formal enough in their
wording.

In writing titles, pretend
someone whom you have
never met is going to read
them. That is, write them
for strangers. State your
title in a simple, straight-
forward manner, using
plain language and good
English. Let the titles be
complete sentences with
subject and verb, not mere-
ly captions which seem un-
finished.

Do not tell the whole
story in the title — let the
film do that. Let the title
tell the facts the film can-
not or does not tell. If you
w rite your titles along
these lines you need not
fear that they will appear
as anything but good titles.
If they seem otherwise, it’s
probably because you’ve
worked on them so long
they have lost their sparkle
— for you.

Q. The other night I
made some positive titles
and upon developing them
I found a large black spot
near the center of the field
for which I cannot account.
I have been making titles
for years, but this is the

first time anything like this
h a s happened. — N. U.,
Grand Island, Neb.

A. My guess is that
somewhere near your titler
was a third light, perhaps
in the ceiling or in a floor
lamp near at hand. The
light from this third source
was magnified by your aux-
iliary lens onto the title
card, causing your black
spot. Probably moving this
odd light as little as six
inches to your right cr left
would have ended this trou-
ble, and although you may
never experience it again,
it is best to turn out all
room lights except those
actually in use.

Q. In trying a typewriter
shot recently it was my in-
tention to have the type-
writer type out the letters
as the camera made the ex-
posure. However, the pa-
per was so badly over-ex-
posed that the letters could
not be seen. But when I
exposed less, the typeivrit-
er was under-exposed. I’ve
seen shots like this so know
it is possible. What am I
doing wrona? — L. E. C.,
Pensacola, Fla.

A. Besides placing your
lights more carefully, so
that the concentration falls
on the typewriter instead
of the paper, I would sug-
gest you use colored paper
in the typewriter, either
blue or yellow, and more
important than either of
these a new, heavily inked,
black ribbon. But the col-
ored paper, I am sure, will
end that glare.

Q. Can a lap dissolve be
made with positive film?
It would seem the fades
woidd act just the oppos-
ite, since everything else is
just reversed w i t h this
emulsion. How can dis-
solves be made, if at all?-—
B. S. IF., Wamvatosa, IFis.

A. Inasmuch as positive
film is being widely used
both for regular filming
and for shooting titles
where the film will be de-
veloped instead of reversed,
the answer to ycur ques-
tion can be both yes and no.

NEW letter

. Sets

DeLuxe Sets are available in:

Classic or Script S9.03

Postpaid for cash with order.

Broadway or Modern BlocEc . S7.00
Postpaid for cash with order.

Specify whether you wish black
or while letters

Here is something brand new to add sparkle
and novelty to your movie titles . . . Famous
Knight Metal Letters and a beautiful Wood-
grain Background.

Every DeLuxe set contains 4 ornamental cor-
ner pieces, a fine pair of tweezers for easy
handling of the letters and a tube of rubber
cement for fastening letters to the background.
Lelters can be used over and over again, as
they are easily removed and the cement rubbed
off with your finger tips.

IT rile for Samples and Descriptive Circular

KNIGHT & SON, INC. Box B, Seneca Falls, N. Y.

Got your emblem?

lET on the bandv/agon! Join the finest bunch of movie amateurs
that ever clicked a cine camera! For a greater measure of good fel-
lowship among brother hobbyists, register now! Identify yourself as a
Reel Fellow with a handsome gold Reel Fellow emblem and a Reel
Fellow insignia on your camera. If you shoot 8mm or 16mm movies,
or if you are interested in any of the aspects of amateur movie mak-
ing, you are invited to become a member of the Reel Fellows, SI. 03
membership fee is so low no amateur can afford not to join. Upon
receipt of your membership application, you will be sent membership
card, gold pin, and insignia for your camera. Be the first in your
community to join! Fill out the Reel Fellows membership application
below and send it in immediately!

DETACH HERE

THE REEL FELLOWS

MEMBERSHIP APPLICATION

REEL FELLOWS
c/o Home Movies
6080 Sunset Boulevard
Hollywood. Calii.

I am enclosing SI. 00 membership fee, for which please enroll me as a
member of the Reel Fellows and send me membership card, gold pin. and
camera insignia.

I have been shooting movies (longlh of time)

My equipment is: 8mm 16mm

Name
Address

City Slate

PAGe 388

HOME MOVIES FOR AUGUST

Experts couldn't tell the
Difference . . . can you?

Three pictures were made of
the same subject, using the
identical camera, light, film,
development and printing oper-
ations. Each exposure was
timed by a different meter:
one costing nearly three times
as much as a G M. another
costing over twice as much as
a G M Standard. Besulting
prints were so alike, experts
couldn’t see any difference. On
request, we will send certified
prints to anyone for personal
examination. This test proves,
^ve believe, that the G M Stand-
ard is America’s greatest pho-
toelectric exposure meter value.

To demonstrate
how resu Us ob-
tained with the
G M Standard
Photoelectric Ex-
posure Meter
compare with
those given by
meters costing
much more, an
impartial test
was made by a
leading profes-
sional photogra-
pher.

WITH
NECK
CORD

it at your dealer s.

G M LABORATORIES, Inc.
4229 N. Knox Ave. Chicago

For MOVIE

REELS

Safe, modern protection for your
reels. Keeps them clean and they
are easy to file and find.

MOVIE REEL FILE

Compartments for 9 metal reels
of 8 mm film. Size 8'/8x6%x5ys‘^^
Index chart on Inside cover.
Choice oF blue, green, red or
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Money - Bat

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any

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folder descril:

Ding

book-

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^ Miniature

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Fla)

Negatives,

prints, etc.

AMBERG FILE & INDEX CO.

1613 Duane Boulevard Kankakee, Illinois

On iJisf/lay, Pliolo^raphic Dealers Show, Aug. 18, Chicago

8m Bulk Movie Film 16

Buy Mo

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spool your
high grade, nc
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(equals 200 ft. single 9) .

$$$. This fin
12) projects to theatr

• lOO ft. dbl. 8 mm. (equals 200 ft. single 9) . . . $1.85

• 100 ft. single 8 mm 1.10

• 400 ft. 16 mm. notched in lOO ft. lengths . . . 4.65

Develop Your Own Movie Film! Save Money!

T~ This outfit includes every-

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ft. 16 mir.. or double 8
Same as above, but with
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SPECIAL $9,59

Camera spools 35c each (any camera). Processing rates

lOO ft. 16 mm. 85c; 25 ft. 8/8 mm. SOc. Set of 4

Processing Powders $1.35. Complete instructions with
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fit 25c postpaid.

ORDER DIRECT FROM THIS AD TODAY—

or MAIL POSTCARD for free BARGAIN

CIRCULARS, filrr. price lists, etc.

^SUPERIOR BULK FILM CO.

‘'Home Processing Headquarters"

188 W. Randolph St., Chicago. III.

8/8mm MOVIE FILMS

IGmm

FOR HOME PROCESSING

All films are anti-halation and prices inc

ude postage

100'

400'

No. 1 $1.25

$ 4.00

No 2 3.00

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No. 3 .. 2.75

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EHher double S (factory perforated)

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100' 16mm including processing

$2.00,

six rolls $10.00

RAINBOW LABORATORIES

Box 191 Staten Island, N.Y.

“Yes, if you refer to use
of positive film for shoot-
ing pictures and where the
film is to be reversed. The
procedure for making dis-
solves would not differ
from that used when film-
ing with regulation rever-
sal film.

No, if you refer to use of
positive film in the making
of titles. In the straight
development of positive
film, the film actually be-
comes a negative ; values
are reversed. The black

lettering on title cards be-
comes white and the white
card surface appears black.
To make fades when shoot-
ing positive titles, you open
the lens to fade out and
close the lens to fade in —
just the reverse from re-
versal film procedure.

Having over-exposed the
emulsion to gain the fade-
out, it is impossible to
wind-back the film and ob-
tain an image on this pre-
exposed area for a lap-dis-
solve.

Wovie of tL mon til

• Continued from Page 366

terior, and for the closing
sequencies, scenes of Fath-
er Dean performing rituals
of the church before the
main altar. Father Dean
had fallen ill just before
the Dedication was to take
place, was confined to his
bed, and thus obliged to re-
main away from the one
great event that was to
crown his life’s work.

A high point in the film-
ing is the sequence depict-
ing the blessing of the
Cathedral bells high in the
tower of the edifice. A col-
orful sunset shot brings the
picture to a close.

Not only did Morgan
choose an interesting sub-
ject for his filming, but his
artistry achieves greatest
prominence in his camera
work. His composition is
indeed among the best ever
to come before reviewers
and exposure and focus is
so consistently good as to
par the best professional
color achievement. Because
of the excellent depth of
focus obtained, we feel
compelled to mention the
equipment employed. Mor-
gan filmed the greater part
of the production with a
model 25 Cine Kodak. Al-
so employed, manned by
friends of Morgan, were a
Keystone 8 mm. camera fit-
ted with an f/2.7 lens and
a Filmo “Eight” fitted with
an f/1.9 lens.

By this time, of course,
to mention that the editing
and titling-mf this picture
are also excellently done is
to revert to repetition.
More interesting perhaps
is Morgan’s account of his
highly successful filming

undertaking wh ich fol-
lows :

“Last October 1st and 2nd
the new Queen of the Holy
Rosary Cathedral of To-
ledo was dedicated and dur-
ing that two,-day function
many of the church digni-
taries, not only of the Unit-
ed States but of Canada,
were present. It was my
good fortune, with the help
of two of my amateur mo-
vie fan friends, to be able
to get about 200 feet of Ko-
dachrome pictures of the
exercises and processionals
outside of the cathedral.

“The cathedral, one of the
finest in this country, is so
vast in its proportions that
movie taking inside, with
its ordinary illumination,
was impossible and since
no provision was made to
step up the interior light-
ing, it was impossible to
film the functions which
took place therein.

“This left me with pic-
tures of a great historical
event which in themselves,
it seemed to me, could not
be made into a satisfactory
movie.

“One night shortly after
the films had been returned
from Rochester, I was
reading Home Movies
Magazine and muhing over
in my mind what to do with
them to make a picture
more complete. Various
ideas came to me but each
one in turn was rejected un-
til at last I asked myself
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Monsignor?’ During the
past twelve years I have
seen this cathedral, under

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HOME MOVIES FOR AUGUST

PAGE 389

the guiding hand of Mon-
signor Dean, grow from a
bare shell of four walls to
a magnificent edifice.

“The more I toyed with
the idea, the greater the
possibilities seemed. How-
ever, to convert my idea
into a reality, I needed
the utmost cooperation of
the Monsignor without
his realizing at once just
what I was about. This he
gave me, and the picture
was better than 90% com-
plete before I had to let
him know what I was do-
ing. In other words, I just
needed shots of himself to
complete the film. He was
shown the picture at a din-
ner party comprised of his
immediate friends and was
so impressed and touched
by the tribute paid, that he
willingly posed.

Photographically, be-
cause of the location and
the vastness of the cathe-
dral, it is impossible to get
a single full shot of the ex-
terior of the structure.
Hence, the large number
of angle and close up shots
of its more important
structural features. Two
vertical pans of the facade
are included and both of
these could have been made
better if the camera could
have been used farther

away, which was not pos-
sible. Further, because of
its vastness and inadequate
illumination for photo-
graphic work, it was neces-
sary for me to use my in-
genuity to obtain pictures
of the interior fresco work.

In preparation of the
dedicatory services. Mon-
signor published two very
elaborate brochures — one
of which contained color
photogi'aphs of the fres-
coes. The photographs
were made from 8x10 Ko-
dachrome negatives. I ob-
tained possession of these
negatives, backed them up
with a 1/4 inch panel of
frosted glass and backlight-
ed them with two No. 1
photoflood lamps, u s i n g
stops f9 and f 11.

The larger views 10
inches in width by 7%
inches high and 8 inches in
width and 6 inches high
were reproduced upon a
Brown Precision Titler.
Sectionalized pictures, such
as those of the Apse Fres-
co, were taken by using a
Cine Typewriter Titler
with the camera mounted
upon it and the title end
placed directly a gainst the
Kodachrome negative
backed up by the frosted
glass and backlighted.

Some of the exterior shots
were also done in this man-
ner from a negative of the
facade.

The pictures of the three
Toledo bishops shown at
beginning of the film were
photographed from oil
paintings, using six No. 2
photoflood lamps with stop
f 3.5.

The taking of the pic-
tures of the swinging bell
in the belfry and of Mon-
signor blessing the bells al-
so required some ingenuity
inasmuch as the natural il-
lumination therein (for it
was raining outside) was
too low to indicate upon the
light meter, although some
was definitely present.
Four No. 2 photoflood
lamps were used and the
shots were made with stop
f 2.7 without a daylight fil-
ter. These scenes, there-
fore, have a slight bluish
cast which, those who have
seen them say, adds to the
picture rather than de-
tracts from it.

The story woven through-
out the picture is chrono-
logically true, and I have
attempted therein to give
credit to the man who built
the magnificent structure,
the Cathedral, for which
all Toledo is deeply proud.

fo. a

* Continued from Page 372

Friends occupied pews in
the background, and light-
ed candelabra illuminated
the aisles. Medium and
closeup shots followed, pic-
turing the entire ceremony.

So impressed wei'e the
bride and groom over the
results of this filming they
prevailed upon Rafferty to
shoot additional scenes
showing them in their new
home and picturing the
many gifts received from
their friends. Rafferty
went a step further. He
suggested that a complete
story be filmed that would
picture their betrothal, in-
clude the wedding scenes,
and wind up with a laugh
at the finish. All set to
work upon a story and in
due time an excellent script
was written, locations
chosen, and the bank roll
tapped for additional rolls
of Kodachrome.

Within a few weeks.

wedding movie

filming of the additional
scenes was completed. Pat
Rafferty bent over his ed-
iting board many evenings
thereafter cutting and
splicing until ’way past
midnight. Nora, his wife,
executed the title cards in
color and soon these were
filmed and cut into the pic-
ture. The following even-
ing, the newlyweds were
called to the Rafferty home
for a preview of the pic-
ture and this is what they
saw :

The picture opened with
an attractive main title let-
tered in yellow over a blue
background. This was fol-
lowed by a series of credit
titles, each melting smooth-
ly into the other in a series
of lap-dissolves.

In the first scene, the
young couple are shown
walking happily along an
interesting lane in the

• • •

country and this is fol-
lowed by several similar
shots, each a scenic gem.
Rafferty exhibits excellent
taste and composition abil-
ity in the manner in which
he framed the scenes of
this sequence. There’s a
shot from a low angle
showing the couple on a
footbridge as they stop,
hold hands, and embrace —
the first hint that they are
lovers.

Soon the couple pause to
rest, and at this point,
Rafferty moved in, in two
camera set-ups to catch, in
a full closeup, the placing
of an engagement ring by
the young man upon his
sweetheart’s finger. After
an embrace, the couple I’e-
sume their walk through
the country side and a fade
closes this sequence.

The second sequence em-
braced the announcement
of the wedding. The first

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PAGE 390

HOME MOVIES FOR AUGUST

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scene shows invitations be-
ing addressed and mailed,
followed by a closeup of the
invitation. A lap dissolve
introduces a closeup of the
wedding date on a calendar
which dissolves to a close-
up of the face of a clock
showing the time of day.
Note how professional is
the treatment of this trans-
ition introducing the wed-
ding date and scenes of
preparation which follow.

The next scenes show
the bride-to-be in her bou-
doir being made ready for
the ceremony. Attendants
are arranging her hair,
buttoning her gown, etc.
There’s a cut at this point
to the groom in his dress-
ing room. He whistles as
he runs an electric razor
over his beard. After dress-
ing. he sits on the edge of
his bed to reflect a moment.
A dissolve at this point in-
troduces scenes showing
what he is thinking. He
visualizes the freedom he is
about to forfeit. He sees
himself washing dishes
while his wife naps on the
sofa and when he hurries
with his chores and at-
tempts to sneak out of the
house, his wife awakens
abruptly to call him back
and pursuades him to stay
in for the evening.

Fading back to the con-
templative groom, he rises,
dons coat and exits from
the room. A flash back to
the bride-to-be shows her
to. be ready too, and as she
exits from her boudoir, the
picture dissolves to the
wedding sequence, already
described.

Following the ceremony
are scenes of the reception
— friends gathered at the
bride’s home ; the bride cut-
ting the wedding cake; and
of the bride and groom es-
caping by a side door. An-
other dissolve at this point
introduces the couple arriv-
ing at their own cottage.
The first scene is shot in-
doors with the camera
picking up the couple as
the door is opened. The
husband carries his bride
across the threshold, kisses
her, and then together they
examine the host of gifts
awaiting them on a nearby
table.

Feigning fatigue, both
relax on a nearby divan
and the husband glancing
at his watch, suggests it
is time to retire. The

couple proceed to their
bedroom and close the door
after them. But only for a
moment. The door reopens
and a closeup at this point
shows the husband tacking
the certificate of marriage
c.n the door and then, over
it, he hangs a sign bearing
the vmrds, “Do Not Dis-
turb.” The picture closes
with a title, . . and they
lived happily ever after.”

As yet, we have made no
mention of another high-
light of this amateur movie
— the recordings cued to the
picture. The opening
scenes showing the lovers
strolling through the coun-
tryside are accompanied
by strains of an excellent
recording of “I’m Falling
In Love With Someone.”
The scenes depicting the
groom and bride-to-be pre-
paring for the wedding are
accompanied by playing of
the recording of “Bridal
Charms.” And when the
sequence picturing the re-
flections of the groom into
his future is screened, it is
accompanied by a passage
from the recording of “The
Prisoner’s Song!”

Scenes of the ceremony,
of course, are accompanied .
by strains of the “Wedding I
March” and “I Love You
Truly.” The scenes that
follow are screened in ac-
companiment with the re-
cording, “Maria Aleana,”
and “A Hot Time In the
Old Town Tonight” plays
with the closing shots
showing the couple retir-
ing.

Exceptionally well pho-
tographed, titled and edit-
ed, the plot of “The Old,
Old Story” offers sugges-
tion for others planning a
wedding movie. As one
may easily see, the story
idea not only offers oppor-
tunity to picture wedding
scenes with a different
treatment, but such a pic-
ture easily becomes the cor-
nerstone on which to build
a movie biography of all fu-
ture events of the stars of
the picture — the bride and
groom.

Got your entry ready for
Home Movies' 1941 Amateur
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Why use anything else when

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HOME MOVIES FOR AUGUST

PAGE 391

movies

• Continued from Page 367

wa^

• •

ized in filming miniatures
and have turned it to ac-
! count in supplying well to
• do amateur fans with spe-
j cial effects along this line.

! On the other hand, the
i amateur who moves around
' a good deal, and who has
: the habit of shooting
everything he sees that
is interesting and out of
the ordinary can build up
a stock library of scenes
which are salable to others.
■ This includes storms, tor-
I nadoes, snow, wrecks, acci-
[ dents, fires, athletic con-
tests, odd characters, pa-
“ rades and so on. Such a list
[j should be catalogued and

ithe list circulated among all
nearby cinematographers
possible. Your local camera

SI| supply store will co-operate

I as a rule, acting as sales

agent. In this way you will

soon get your service before

practically every prospect

in the locality.

The newest field in which

profits may be made for the

I amateur is the documen-
•| ,

Ij tary film field. Promotional-

I educational pictures as well
I as “safety” films for town,
j city or county governments,
or chambers of commerce,

, j money raising committees,
|l or other institutions come
I under this class. They are
Ij not only interesting sub-
I jects if rightly handled but
I they are interesting to pro-
J duce, requiring imagination
j and camera sense.

Df course, with the num-
ber of home movie theaters
increasing daily from coast
j to coast, many amateurs
(j have visions of at least par-
i! tially making their pictures
j pay their way by charging
I a “gate.” But everything
here depends upon, first, the
quality and pretentiousness
of your productions, the ad-
mission fee you can hope
to get, and the attendance
; possibilities. Quite as much
promotion (comparatively
speaking^ is needed as in
i the case of ballyhooing Hol-
lywood features. If you
prove that you can make
good pictures there should
be small difficulty in getting
your “house” full. But, good
pictures must be coupled
with aggressive advertising

locally, and some co-opera-
tion on the part of friends
and neighbors and Parent-
Teacher groups.

Some amateurs seeking
cash retuims by this means
show their own productions
along with rented profes-
sional reels, cartoons, scen-
ics and novelty shorts. This
is one way to get paying
audiences for your own pic-
tures, and at the same time
making a fifteen or twenty
cent admission justifiable.

Then, too, the amateur
who is adept at story and
script writing can sell his
ideas and continuities to
other “fans” who have no
such skill or experience but
whose interests lie mainly
in direction, production and
camera work.

There is some money to
be made in screen-testing.
In every locality there are
scores of people who think
they are movie material or
who have children “just as
good as Shirley Temple.”
Tests at a few dollars each
will help provide funds for
the amateurs’ hobby. Such

• Continued from Page 373

in this department is the
lack of moi-e frequent
change of camera set-up as
suggested above.

Editing: A nice job of
cutting and editing. Un-
fortunate, of course, there
were not more closeup
shots to work with.

Titling: Good composi-

tion and well photographed.

Recoy'dings: The record-
ings selected for the musi-
cal background to be
played with projection of
this picture were well cho-
sen and do much to increase
story interest.

"WANTED, LIFE" ★★★

400 Ft. 16 mm. Kodacrome— By V. L. H

Coyitinuity: ' This is a
crime stoiy, depicting the
fate of a modern bandit.
The picture opens with
bandit, gun in hand, back-
ing cut of a restaurant he
has just robbed. A police-
man,' happening a 1 o n g.

tests should always be built |
around simple dramatic ac- !
tion and not be merely close- I
ups of the portrait type.

There is also a growing
demand among commercial
picture producers in large
cities for 16mm footage
made at distant points. An
example is the request of a
large Steel corporation, pub-
lished in the July issue,
for amateurs to furnish
scenes of bakeries and ba-
kery equipment in several *

cities from coast to coast. I

Frequently where the pic- 1
ture is a silent one, a quali- j
fied amateur on the spot j
can shoot the needed scenes j
and realize as much as 50
cents a foot for it. He will,
of course, be limited in the
interiors which he can ade-
quately light. But many
needed pictures are of the
outdoor variety, such as or-
ange or lemon groves, min-
ing properties and so on.

Truly, the day of oppor- |
tunity for ambitious ama-
teurs is her e. And why
should he not make his hob-
by pay — if he can !

gives pursuit. The bandit
opens fire, killing the offi-
cer, then escapes in offi-
cer’s car.

The balance of the pic-
ture is a succession of
chase scenes with the state
police in pursuit of the
ban dit who eventually

abandons his car near a

railroad track and at-
tempts to hide among a
string of freight cars. ’The
chase continues with the
bandit fleeing to nearby
hills where, protected by
huge boulders, he engages
his pursuers in gunfight.
The bandit is fatally |

wounded and the final |

scenes show him rolling
down the mountain side to
his death.

There is a slowing up of
continuity at the beginning
due to the prolonged shots
of the bandit escaping in
the car. It would have
been much better to omit

(Sandid comments

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24-16, panchromatic, fine grain —

ESSCO No. 100. Pan, non-halo,

Weston 100 Tungsten. Not for use 0.98 0.69

in bright daylight ^

1-39

J.69

IP f ^ FILM PRODUCTS

^ ^ I ■ ■ 61 17 S. Campbell Ave.

^ ^ ^ W Dept. HM-8 CHICAGO. ILL.

ALL

8 or I 6mm
CAMERAS

Kodachrome

Black and While

Large titles (7"x9") give you
more opportunity to get real
professional results. You can do
it and make every title differ-
ent. Outfitcontains twelve com-
plete Alphabets. Title tricks,
etc., only $2.00. Deluxe Outfit
with frame $3.00 at your dealer
or direct. Write for Free Kit.
Dept. H28.

AtoZ MOVIE ACCESSORIES CO.

175 FIFTH AVE.,NEW YORK CITY

Save Monev! . . .

USE THRIFTY 16mm FILM

THRIFTY ORTHOTYPE cOoC

For OUTDOOR . . . non-halation ^
base fine grain, fast . . . Machine ^
processed. Per 100-ft. rolls .

THRIFTY Panchromatic $4.25

THRIFTY Super-Panchromatic $4.50

New prices effective at once. Greater cost of
production makes this small increase necessary.
California Buyers Please Include Sales Tax
Sold and Processed Only by

THRIFTY FILMS

Drawer 98. Watts Station Los Angeles. Calif.

8mm SLITTER

Slits perfectly 16mm width film to exact 8mm
width. Die cast body with hardened steel
cutting wheels. New price, each, S2.50

DEVELOPING RACKS

Stainless steel, take 30 feet 16mm or 8 mm
width film. Can be used in 11x14 or 8x10 flat
trays respectively. Complete with loading
stand each, S6.75. Specify type wanted.

/fr Your Dealer's or Direct

J. C. Haile & Sons

Motion Picture Dept.

215 Walnut Street Cincinnati, Ohio

FREE

100 FILM

Anti-Halo

(Either 16mm or Dble. 8mm
Bulk) with every order of $5.
Offer Good for August Only.
BETTER BULK FILMS — Same price for 16mm or
Double 8mm.

Rap'd-X Pan Super-pan Semi-ortho Seml-ortho
Anti-halo Anti-halo Anti-halo Clear-Base
100-80 24-16 12-4 12-4

100 ft. $3.60 $3.15 $1.30 $1.20

400 ft. 12.95 11.60 4.25 4.00

Above prices do not Include processing.
Reversal Processing — Single 8, Double 8 or 16mm —
100 ft.. 85c. 50 ft., 65c. 25 ft.. 50c.

READY TO MIX PROCESSING POWDERS— Half
gallon size; 1st developer; bleach; clearer; 2nd de-
veloper; hypo. AI,L FOR $1.30.

Send for complete lists and FUFF booklet on home
processing instructions, plans, formulae and supplies.
/Ill Orders Shipped Postpaid Except C.O.D.

CORONA FILM LABORATORIES
200 East 34th St. Brooklyn, N. Y.

PAGE 392

HOME MOVIES FOR AUGUST

ON SOUND PROJECTORS

I3iuj of) a JlffoMme!

LIKE NEW CONDITION
VICTOR MODEL 36

For the home and small auditorium. 8-I0 watt out-
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For large assembly rooms, auditoriums and the
home. 25-watt output, 750 watt lamp, FI. 6 lens, etc.
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COM PLETE ^ 4.aU $3^5

Time Payments Can Be Arranged.

Address all orders and inquiries to Dept. HM-8.

FOTOSHOP, live.

18 E. 42nd ST. . 136 W. 32nd ST.

NEW YORK CITY

Fill Your Screen With . .

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BEAUTIFUL • THRILLING • GLAMOROUS
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List of UNIQUE PRODUCTIONS at amazingly
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The new Harrison CINEKIT contains a special Aero
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following de luxe Duraline Filters:* No. 4 Red
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4 G-V (darkens sky — gives contrast in snow scenes).
No. C-4 (corrects indoor Color Film for daylight
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(*If desired, any filters specified will be substituted
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choose from.)

Send for Free Illustrated Folder Today
HARRISON &. HARRISON, Optical Engineers
8351 Santa Monica Blvd. Hollywood, Calif.

. . .

ESO-B

(at $1.25 per 25' dbl. 8mm roll)*
for the best in 8mm black-and-
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convince you ESO-B Is the economy film
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Six other fine ESO-S films available for special
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^Available for single 8mm cameras on request.

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ESO-S PICTURES

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MAPS e/u!^?\UE TITLES

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and ACCESSORIES CO.. INC.
351 West 52nd St„ New York City

some of these scenes and
cut back to the scene of the
crime, showing the result-
ant action there, the calling
of state police, etc. Also
scenes of police spotting
bandit on freight cars was
not well staged as it is too
obvious bandit should have
known officers’ positions
because of his vantage
point.

Photography: The cam-
era work on this picture is
exceptionally good. Expos-
ure is consistent and cam-
era angles are always good.

Editing: Chief sugges-

tion for bettering editing
of this picture would be
cutting in action that takes
place at restaurant imme-
diately after shooting of
officer.

Titling: Nicely executed
are the main and credit
titles which were superim-
posed over moving scenic
backgrounds.

"VACATION 1940" ★★★

350 Ft. 16 mm. Kodachrome — By F. N. K.

Contintiity: A simple but
effective idea ties this pic-
ture together and gives it
life. It is a record of a
vacation of a man and his
wife and their chow dog
taken in the mountains.
After the locale is estab-
lished in the opening
scenes, the camp site is pic-
tured with the husband
chopping wood and the
wife preparing lunch.

After luncheon, the wife

asks her husband to join
her in a hike. He declines,
preferring to fish in a near-
by stream. The camera
then follows the wife and
the dog as they hike along
mountain trails. But in-
stead of the camera first
picking up the scene and
then showing the woman
and dog walking into it, the
camera follows them into
each scenic gem, injecting
a very professional effect
to the picture.

The idea of the man pre-
ferring to fish while his
wife and dog hike, prevails
throughout the picture for
the obvious reason that the
man had to handle the
camera.

Photography : Good ex-

posure, nice composition
and smooth camera handl-
ing mark the photography
of this picture as above
average.

Editing: Is very good.
The opening shot of a
beautiful mountain creek,
was a bit too long. Rest of
picture was edited to a nice
tempo in keeping with the
subject. As a result the
picture gives the impres-
sion that the makers had
an enjoyable and restful
vacation.

Titling: Was effective

and competent. Main title
could have been just a little
more elaborate. Use of lar-
ger letters would have
helped.

Opportunitied

^documentaries

• Continued from Page 375

by the film producer. Many
films of this nature depend
sometimes upon a vocal
narrative to tie the film to-
gether, which, cf course, is
better than none at all ; but
the average amateur, with
no sound recorder at his
command, injects con-
tinuity into the film itself
and leaves the rest to ex-
planatory titles.

To diverse a moment
from the hard and fast
rules of a good document-
ary, no producer can make
such a film with all shots
unpased.'"Tt is true many
scenes are rehearsed and
practiced. But these scenes
are rehearsed for the cam-
era and not for the au-
dience. A scene of an In-

dian grinding corn, for
example, is rehearsed to
give the cameraman the
best possible view or angle
from which to light or pho-
tograph the subject. The
method of grinding, the
Indian’s expression, etc.,
are not changed. As long
as the authentic system of
an operation remains un-
changed in detail, it may be
rehearsed several times for
the cameraman until he is
sure the scene will photo-
graph correctly.

Also, the editor may take
certain liberties with the
film, such as changing the
sequences, if by so doing,
continuity is improved.

Unlike the theatrical
film producer, the amateur

interested in documentary
filming need only follow I
the rules already given. I

Many a movie enthusiast
with little more than an in- I
tense interest in an import- |
ant subject plus his movie J
camera and a few rolls of ;
film, has made an interest- l
ing, human document of his
subject for the screen.

In a field which is only I
now just coming into its
own, far-seeing amateurs !
of today are getting in on |
the ground floor deter- ;
mined to make something ;
of the opportunity. j

(^xperimentai

• Continued from Page 377

lens has been unscrewed,
two complete turns on a
standard half-inch 8 mm.
universal focus lens will
provide sharp focus of ob-
jects at a distance of one
foot. One and a half turns
for 11/2 feet; and one full
turn for wto feet.

— Ralph H. Anderson.

■i

Splicing Leaders j

Users of bulk film who |
spool their own and encoun-
ter difficulty splicing on I
black or light-proof leaders
will find this simple method
will end their troubles. It ,
eliminates necessity of
scraping the emulsion. In-
stead, the leader is spliced
to the film “back to back’ ’ —
that is, glossy side to glossy
side. All that is necessary is ;
that both be held in perfect |
alignment during splicing.

You can make a splicing '
block for this purpose from
a piece of wood and several
small brads for alignment ^
pins, or you may use your
regular splicer. Simply trim
ends of film in usual man-
ner, making sure film lies .
on splicer with glossy side . I
of leader facing glossy side ’
of film. Apply touch of film
cement and press the two
together.

— Edw. H. Traten.

Dual Turntables! Electric
Exposure Meters! Tripods!
Trophysl In all — seventeen
valuable prizes to be award-
ed in Home Movies' 1941 |

Amateur Contest. Better en- 1
ter your film today! Contest
closes September 30th. Read
contest rules on page 379.

HOME MOVIES FOR AUGUST

iDirectory o

ALABAMA

BIRMINGHAM: Birmingham Home Movie

Club (8mm) — Cliff Howell, Sec'y, Cliff
Howell & Co., 2208 2nd Ave. N. Meets
2nd Tuesday and last Thursday each
month.

ARIZONA

PHOENIX: Phoenix Movie Club — Fred T.

Summerlield, Sec'y, 754 E. Culver St.

TEMPE: Tempe Cine Club (8mm and

16mm) — Howard Lindly, Sec'y, 103
E. 5th St. Meet 2nd Wednesday.

EL DORADO:

ARKANSAS

The Camera Club of El

! Dorado (8mm and 16mm) — J. H. Hollo-
! way, Sec'y, 604 W. Hillsboro, St. Anne
; Apts. No. D.

j CALIFORNIA

ALHAMBRA: La Casa Movie Club (8mm

and 16mm) — H. P. Carnahan, 1004 E.

! Main. Meet 3rd Monday each month.
AZUSA: Sunkist Movie Makers of the San
' Gabriel Valley (8mm and 16mm) — El-
I' bert B. Griffith, Sec'y, 708 E. Bonita
|l Ave. Meet 1st Monday each month.

BERKELEY: Berkeley Amateur Motion Pic-
ture Club — Mickey Ambrose, Sec'y,
i 1719 E. 15th St., Oakland.

I BURLINGAME: Peninsula Home Movie Club
(8mm and 16mm) — Beatrice Bridges,
|l Acting Sec'y, San Mateo J. C., Room

I 21. Meet 1st and 3rd Monday.

I i EL MONTE: Cine Club (8mm and 16mm)
i — Mrs. Pegge Leahy, Sec'y, Anderson

I ^ Photo & Gift Shop.

■ EL SEGUNDO: South Bay Camera Club

Ij —Heath L. Martz, Vice-Pres., 314'/2

I Virginia St.

FRESNO: Fresno Movie Makers — R. C.

I Denny, Sec'y, 750 Vassar Ave.

I GLENDALE: Snicker Flicker Club (8mm

I'J and 16mm) — N. Johnson, Sec'y, 847

'Ij Pelanconi Ave.

'I HANFORD: Kings Camera Club — G.

If Meldrum, Pres., 206 W. Grangeville
'h Blvd.

I HAYWARD: Hayward Cinema Club (8mm
and 16mm)— Harvey Reed, Jr., Sec'y,
1 230 Pearce St. Meet 2nd and 4th

{'I Thursdays.

I HERMOSA BEACH: Amateur Movie Club

of Hermosa Beach — Robert Balfour,

>'l

111

rrouuuei . , T n

HIGHLAND PARK: Highland Park 8mm

Club (8mm)— Howard Timmons, Sec y,
4530 W Avenue 41. Meet 2nd week of

month.

HUNTINGTON PARK: Southeast Cinema

Club (8mm and 16mm)— Paul Salzman,
Sec'y, 6043 Pacific Blvd. Meets every
2nd Thursday.

INGLEWOOD: Inglewood Movie Club

(8mm and 16mm) — Benton L. James,
Sec'y, 411 W. Spruce St. Meet 1st and

3rd Fridays.

•OMITA: Lomita Cine Club — Baney C.

Rieff, Sec'y, Box 652.

,ONG BEACH: Long Beach Cinema Club
(8mm and 16mm) — Raymond Fosh-
oldt, Sec'y, 134 W. Broadway. Meet
1st and 3rd Wednesday each month at
T W. C. A. ,

Valiant Productions— Robert Board, 1619

E. 14th St.

LOS ANGELES: Los Angeles 8mm Club

(8mm) — Betty Barney, 138 N. Kilkea
Dr. Meet 2nd Tuesday each month.

Los Angeles Cinema Club (8mm and
16mm) — Jack Shandler, Sec'y-Treas.,
553 S. Western Ave. Meet 1st Tuesday
each month.

Northeast Home Movie Club (8mm and
16mm) — D. C. White, Pres., 5632 N.
Figueroa St. Meet 3rd Friday each
month.

Southern Cinema Club (8mm and 16mm)
—Bill V. Fisher, Sec'y, 3911 Missouri
Ave., South Gate. Meet 4th Tuesday
each month.

Southwest 8mm Club (8mm) — Mrs. T. H.
Jeffers, Sec'y, 2920 W. 82nd St., Ingle-
wood. Meet every 4th Tuesday.

LYNWOOD: Southern Cinema Club (8mm
and 16mm) — Don Hunt, Sec'y, 3522
Firestone Blvd., South Gate, Calif.
Meet 4th Tuesday each month.

NORTH HOLLYWOOD: North Hollywood

Cine Club (8mm and 16mm) — Ted
Knight, Sec'y, 4873 Lankershim Blvd.
Meet 1st Tuesday each month.

NORWALK: The Tri City Movie Club

(8mm and 16mm) — Bert P. Teets,
Sec'y, 804 Pine. Meet 1st and 3rd Wed-
nesdays of the month.

OAKLAND: Bay Empire 8mm Movie Club
(8mm) — R. J. Shattock, Sec'y, 4132
Opal St. Meet 2nd and 4th Wednesday
of month.

The Greater Oakland Motion Picture Club
(8mm and 16mm) — B. F. Pratt, Sec'y,
2039 Shattuck Ave., Berkeley. Meet
2nd and 4th Monday each month.

The Movie Crafters (8mm and 16mm) —
Mrs. Clarence L. Brooks, Sec'y, 363
Orange St. Meet Piedmont Hotel, 3451
Piedmont Ave., each 3rd Monday.

PASADENA: Pasadena Movie Club (8mm

PAGE 393

f Umateur Cine

Clubs

• Amateur movie makers interested
in joining a cine club may make
inquiry of the secretary of the club
nearest their vicinity whose head-
quarters are given on this page.

If you are interested in forming a
new cine club, HOME MOVIES will
be glad to assist you. You are in-
vited to write to the editors for free
data that will be of assistance to
you in organizing a club.

Listing of additional clubs will be
made in this directory from time to

time as the data is received from
club secretaries. Every amateur cine
club in the United States, Canada,
and Mexico is invited to participate.
Clubs not as yet listed are request-
ed to furnish the necessary infor-
mation for listing.

Stars indicate clubs from whom
club-produced films are available to
other clubs on exchange basis on
payment of transportation charges.

This directory is another of HOME
MOVIES' exclusive services for the
amateur movie maker.

and 16mm) — Lloyd G. Rittenhouse,
Sec'y, 748 S. Marengo Ave. Meet 3rd
Wednesday each month.

POMONA; Pomona Valley Club — T. J.
Hebert, 155 S. Gary St.

Shutter Snappers of Pomona Valley (8mm
and 16mm) — J. M. Mauzy, Sec'y, 627
S. Reservoir St. Meet 1st Tuesday
each month.

RED BLUFF: Tehame County Movie Club
(8mm and 16mm) — Hank Schafer,
Sec'y, 415 Madison St. Meet every 3rd
Thursday of the month.

SACRAMENTO; Sacramento Movie Club
(8mm and 16mm) — Wilfred Meacham,
Sec'y, c/o Associated Oil Company.
Meet 1st Thursday of month.

Sacramento Movie Forum — Harold N.
Richards, Sec'y, 2427 W St.

Sierra Camera Club (8mm and 16mm) —
John Pardee, Sec'y, 1207 K St. Meet
2nd Tuesday and last Thursday.

SAN DIEGO: Ryan Camera Club (8mm

and 16mm) — A. C. Edraiston, 3553
Polk.

San Diego Cinema Club (8mm and 16mm)
— G. E. Taylor, Sec'y, 4522 Utah. Meet
2nd and 4th Wednesdays each month.

SAN FRANCISCO: Cinema Club of San

Francisco (8mm and 16mm) — Francis
Hedrick, 89 Manor Dr. Meet 3rd Tues-
day each month.

Cinmachanics Club of San Francisco —
W. T. O'Dogherty, Sec'y, 1625 Lark St.

8-16mm Movie Makers (8mm and 16mm)

■ — Margaret Bauer, 1080 W. 17th St.
Meet 1st and 3rd Thursday each month.

Golden Gate Cine Club (8mm and 16mm)
— Helen Hawkins, 666 Edinburgh St.
Meet 1st and 3rd Wednesdays.

Sherman Clay Movie Club (8mm and
16mm) — Mrs. Kathryn Allbin, 47 White
St. Meet 3rd Wednesday each month.

Silver Screen Players of San Francisco
(16mm) — Bette Byers, Sec'y, c/o Eric
Mawson, 237 Woolsey St.

Westwood Movie Club of San Francisco
(8mm, 9l/2mm and 16mm) — Eric Un-
mack, Sec'y, 1944 Ocean Ave. Meet
last Friday each month at Community
Building, Ocean Ave. at Granada Ave.

Western Union Movie Club (8mm)

L. W. Henry, Sec'y, 3260 Gough St.
Meet 1st Tuesday each month.

SAN JOSE: San Jose Movie Club — Dorothy
Weddle, Sec'y, 553 Irving Ave.

SANTA ANA: Orange County 8mm Club
(8mm) — Jack Kahler, Sec'y, 1512

Dresser St. „

8-16 Movie Makers— Thelma Heath 1028
Hickory St. Meet 1st and 3rd Thurs-
days.

STOCKTON: Port Stockton Cine Club

(8mm and 16mm) — K. R. Oliver,

Sec'y, 345 N. San Joaquin. Meets 2nd
and last Thursday of each month.

Stockton Cine Club— Harold Liddicoat,
Sec'y, 11 S. Hunter St.

TORRANCE; Torrance Camera Club (8mm
and 16mm)-C. E. Moses, 1872 218th
St. Meets 2nd and 4th Wednesdays.

VALLEJO; Vallejo Movie Club (8mm and
16mm)— Adeline Boyle, Sec'y, 717 Am-
ador St. Meet 1st and 3rd Mondays.

WHITTIER’ El Rancho Camera Club
(8mm and 16mm)— Mabel Beck, Sec'y,
2241 Valle Drive, La Habra. Meet at
Murray Ranch, Whittier.

WILMINGTON: Wilmington Home Mo'vie

Club (8mm and 16mm)— Herman Moo-
maw, Sec'y, 218 W. Anaheim E'v .
Meet 1st Thursday after the 6th at 1562
Marine Ave.

COLORADO

DENVER; Bell Movie and Camera Club
of Denver (8mm and 16mm) — E. H.
Eroddy, Sec'y, 931 14th St.

Denver Cine 8mm Club— Preston Hop-
kins, Sec'y, 631 E. Colfax St. Meet
2nd Monday each month.

CONNECTICUT

BRIDGEPORT; Monogram Movie Club.

BRISTOL; Bristol Cinema Club — Earle
H. Sparks, Pres., 20 Good St. Meet 2nd
Thursday each month.

HARTFORD; Hartford Amateur 8mm Cam-
era Club (8mm) — George McGauley,
Sec'y, 1214 Main St.

Harmony Cine Mats (8mm) — Paul Quin-
tin, 169 Madison St.

Nutmeg Film & Reel Club — J. Philip
Earley, Sec'y, 138 Main St.

MANCHESTER; The Manchester Cinema
Club ■ — Mrs. Thos. Hooey, Sec'y.

NEW BEDFORD: Greater New^ Bedford

Movie Club — Percy Lord, Sec'y.

NEW HAVEN; The 8mm Movie Club of
New Haven (8mm) — Syd Sidebottom,
Sec'y, 29 May St., West Haven. Meet
3rd Tuesday each month.

NORTH GROSVENORDALE: Thompson

Cinema Club (8mm and 16mm) — Ray
Carignan, Sec'y. Meet 4th Wednes-
day each month.

STAMFORD: Stamford Club (8mm and

16mm) — George A. Valentine, Sec'y,
398 Hope St., Glenbrook. Meet 3rd
Monday each month.

TORRINGTON: Torrington Cinema Club.

WATERBURY: Brass City Chapter No. 3

Reel Fellows Club, 31 Laurel St., Wa-
terbury. Conn.

DISTRICT OF COLMUBIA

WASHINGTON: National Capital Cinema
Club (16mm) — Geo. D. Lane, 738
Munsey Bldg. Meet 2nd Thursday.

Washington Society of Amateur Cine-
matographers (8mm and 16mm) —
Theodore H. Sarchin, 5723 1st St. N.W.
Meet 1st and 3rd Mondays.

Washington 8mm Club — Milton J. Pike,
Sec'y, 1905 Locust Grover, Silver
Springs, Md. Meet 2nd Wednesday
each month.

FLORIDA

GAINESVILLE: Orange State Camera Club
Earl Jernigan, Pres., Box 587. Meet
every other Tuesday.

JACKSONVILLE: Jacksonville Moviemak-

ers (8mm and 16mm) — 350 St. James
Bldg. Frank M. Linville, 424 W. 17th
St.

MIAMI: Miami Movie Makers — J. Mendel-
son. Pres., 2239 S. W. 21st St.

GEORGIA

ATLANTA; Atlanta Movie Club (8mm and
16mm) — Douglas Cone, Sec'y, P. O.
Box 74, Station C. Meet 1st and 3rd
Friday each month.

THOMASTON: Thomaston Movie Club —
16mm and 8mm) — J. Lee Abernathy,
Sec'y, 308 W. Main St. Meet every
other Sunday.

TERRITORY OF HAWAII

HILO: The Family Movies Club — P. O.
Box 106.

HONOLULU: Honolulu Amateur Cinema

Club (8mm and 16mm) — Francis Wil-
liams, 4740 Farmers Rd. Meet 1st and
3rd Tuesday each month.

IDAHO

BOISE: Boise Camera Club (8mm and

16mm) — Mabel M. Sturgis, Sec'y, 1505
N. 15th St. Meet 1st and 3rd Tuesday
each month.

NAMPA: Nampa Movie Club (8mm and

16mm) — Art French, Sec'y, c/o North-
west Photo Shop. Meet 1st Monday.

ILLINOIS

BERWYN: Suburban Amateur Movie Club
(8mm and 16mm) — John Triska, Sec'y,
2415 S. Highland Ave. Meet 1st and
3rd Mondays each month.

CANTON; Canton Movie Camera Club
(8mm and 16mm) — Lale Drury, Sec'y,
Main and Walnut. Meet 2nd and 4th
Mondays.

CHICAGO: Camera Adventurers' Club

(8mm and 16mm) — Mrs. Leslie Leh-
man, Sec'y, 4933 N. California.

Chicago Cinema Club (8mm and 16mm)
— Isidore Vise, Pres., 20 No. Wacker
Dr. Meet every Thursday night.

Chicago Cinematographers — S. F. War-
ner, 1538 Marengo Ave., Forest Park.
Meet 1st Tuesday each month.

Circle Camera Club, 1400 N. Clark St.
(8mm and 16mm) — E. J. Etges, Sec'y.
Meet every 4th Wednesday.

NO W1

A High Quality
IGmm Reversible

Outdoor Film
lOO-ft Roll Si. 98

For Only

Rating Scheiner 18

A High Quality
8mm Reversible

Outdoor Film
25 ft. Double 8 QQc

For Only

Fast Service — Processing same day included.

Ask your dealer or send money direct.
Write for prices on developing and processing
your 8mm and 16mm films — even if you bought
them elsewhere.

Visual Instruction Supply Corp.

1757 Broadway Brooklyn, N. Y.

ENLARGED

m REDUCED Q

lb TO o

Black and White and Kodachrome

GEO.W.COLBURN LABORATORY

Special Motion Picture Printing
II97-A MERCHANDISE MART
CHICAGO

HOME MOVIE PRO-
CESSING is easy with
our light-proof FLEX-
ON. Film completely
inclosed. Faster wash-
ing. Professional results.
Write for prices on
film and Rev. Proc.
powders.

The FLEXON CO.

1910 Belmont, Chicago

Free 1941 Thalhammer Catalog

24 pages chock full of interesting
facts . . . Pictures of Thalhammer
tripods and accessories; this cata-
log can be yours by just writing
the TH ALHAMM ER CO., 4663 San
Fernando Road, Glendale, Calif.

PAY FOR YOUR CAMERA
As You
Use It!

_ EXTRA CHARGE FOR TERMS

Anycamera in Ward’s new 1941 catalog may
be bought on terms at no additional cost.
Own an Argus color earner^ only a month.
Ward’s guarantee satismetion and ship
most photo merchandise Ros tpaid.
Send today for FREE 1941 catalog
of still and movie cameras, also other
equipment at money -saving prices.
MONTGOMERY WARD & CO.
Photographic Dept, hm-841. Chicago, III.

RAVEN SCREENS

■For Theater Quality Projection

Raven Screens are inevitably selected by 6ne
cinemato^aphers and theaters everywhere. There’s
a Raven Screen to fill every need. Write for
new catalog to Dept. 7-HM.

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PAGE 394

HOME MOVIES FOR AUGUST

Director

ILLINOIS — (Continued)

Commonwealth Edison Camera Club —
Arnold R. Hatch, 72 W. Adams St.,
Room 737.

Lane Tech Movie Club — A. P. Heflin,
Sec'y, 2501 Addison St.

Metro Movie Club of Chicago — Kenneth

L. Harbour, 1440 Thorndale Ave.
Shutter Snapper Club — Faith Church,

Pine and Augusta.

Southeast Cine Club (8mm and 16mm) —
B. Fox, Sec'y, 6900 Jeffery Ave. Meet
2nd and 4th Mondays each month.
South Side Cinema Club — Alice M. Stig-
ers, 3825 W. 66th PI.

Triangle Cinema League of Chicago
(8mm and 16mra) — Leo Brooks, Sec'y,
1528 S. Harding Ave. Meet Sunday af-
ternoons, once or twice a month.
Twin Eight Cinema Guild (8mm) - —

Charles Byron McDaniel, Sec'y, 737 N.
Michigan Ave.

Westlawn Cinema Club — Walter Seng-
stock, Sec'y, 1517 S. Kostner Ave.
Windy City Movie Club (8mm) — E. A.
Moore, Sec'y, 1736 N. Mason Ave.
Meet last Thursday each month.
HOMEWOOD: 3H Camera Club,^ Movie

Division — George Durand, Secy, 1750
Linden Rd.

OTTAWA: Ottawa Cine Club — C. F.

Grover, Sec'y.

PARK RIDGE: Park Ridge Camera Club—
Mrs. E. O. Gale, Sec'y, 9 S. Chester.
PEKIN: Pekin Cinema Club (8mm and

16mm) — Howard E. Miller, Sec'y, Box
262. Meet every other Monday night.
PEORIA: Peoria Cinema Club, Inc. (8mm
and 16mm) — Mrs. H. C. Rodenhouser,
Room 805 Alliance Life Bldg. Meet
very 3rd Tuesday.

ROCKFORD: Rockford Movie Makers (8mm
and 16mm)— Betty Knudson, Sec'y, 1411
4th Ave Meet 1st Monday each
month.

ROCK ISLAND: Tri-City Cinema Club

(8mm and 16mm) — Albert N. Mueller.

M. .D., 550 26th St. Meet 4th Friday
each month.

INDIANA

EIKHART: Conn Camera Club— Florindo

Viti, Sec'y, Conn Entertainment and
Athletic Ass'n.

FORT WAYNE: The Fort Wayne Movie
Club (8mm and 16mm)— L. R. Bran-
deberry, Sec'y, 1406 Kitch St. Meet
2nd Monday each month.
GREENCASTLE: Greencastle Camera Club
— Lloyd Messersmith, Pres., 422 An-
derson St.

HAMMOND: Calumet Movie Makers (8mm
and 16mm) — Gladys Patrick, Sec'y,
5411 Price PI. Meet every 3rd Monday.
INDIANAPOLIS: Indianapolis Amateur

Movie Club (8mm and 16mm) — Al-
fred E. Kaufman, Sec'y, 4623 N. Ar-
senal Ave. Meet 1st and 3rd Wednes-
days each month.

Indianapolis Bell Camera Club (8mm and
16mm)— E. J. Rohrman, 2242 Union St.
Public Service Company Camera Club
James Genders, Sec'y, 4935 W. 11th St.
Super-Art Productions of Indianapolis —
W. Stuart Bussey, 17 E. St. Joseph St.
■VINCENNES: Vincennes Camera Club

(8mm and 16mm) — Robert M. Johnson.
Meet 1st Thursday.

IOWA

DES MOINES: Y. M. C. A. Movie and

Camera Club (8mm and 16mm) — Mrs.
Geo. W. Cushman, Sec'y, 3425 Witmer
Pkwy. Meet 2nd and 4th Tuesdays.
NEWTON: Newton Amateur Cinema Club
(8mm and 16mm) — Merlin D. Willis,
Sec'y, Box 665. Meets 2nd Monday
each month.

SIOUX CITY: Amateur Cinema Club of

Sioux City (8mm and 16mm) — Carl
Gustafson, Jackson Hotel. Meet 3rd
Tuesday each month at Hunt School.

KANSAS

PRATT: Camera Club (16mm and 8mm)

— Benjamin F. Henry, First Presby-
terian Church.

WICHITA: Wichita Amateur Movie Club

(8mm and 16mm) — Miss Juanita Pri-
both, Sec'y, 3916 E. Lewis.

KENTUCKY

BOWLING GREEN: Bowling Green Cam-

era Club (8mm and 16mm) — E. J.
Lowry, Vice Pres., Movie Division, 1212
E. 10th St. Meets 4th Wednesday.
COVINGTON: Northern Kentucky Cine

Club (8mm and 16mm) — Fred Lond-
weh, Sec'y, 1056 Gramp St.
LOUISVILLE: Louisville Movie Club —

Harold Rhodenbaugh, Courier Journal.
MARYLAND

PARKVILLE: Parkville Amateur Cinema

Club (8mm and 16mm) — G. E. Aro,
Sec'y, 2806 Linwood Ave.

MASSACHUSETTS

ATTLEBORO: Attleboro Movie Club —

Francis P. O'Neill, 37 Pleasant St.

y of Amateur Ci

' —COHTDiUED—

BOSTON: Boston Cinamateur Club (8mm
and 16mm) — 5 Dartmouth St. Meet
2nd and 4th Mondays.

HOLYOKE: Prospect Movie Camera Club
(8mm and 16mm) — Henry M. Bader,
Sec'y, 19 Charles St. Meet 1st Monday
each month.

LGWELL: Lowell Amateur Cinema Club

— Leslie R. Lawson, Sec'y, 311 West-
ford St.

LYNN: Greater Lynn Camera Club, Movie
Division — Max Hurwitz, Sec'y, 46
Central Square.

NEW BEDFORD: Greater New Bedford

Movie Club — Jim Whittaker, Secy.

PITTSFIELD: Berkshire Museum Camera

Club (8mm and 16mm) — A. C. Hin-
dle, Sec'y, 19 North St. Meet 2nd Wed-
nesday each month.

SOUTHBRIDGE: Southbridge Amateur

Movie Makers Club (8mm and 16mm)
— Joseph R. Seremet, Sec'y, 124 High-
land St. Meet 2nd Friday each month.

MICHIGAN

BATTLE CREEK: Photographic Society of
Battle Creek (8mm and 16mm)- — Neil
E. Elliott, Sec'y, 215 Fairfield Ave.

DETROIT: Detroit Society of Cinematog-
raphers (8mm and 16mm) — Ruth Mul-
vena, 12663 Roselawn Ave. Meet 4th
Monday each month at McGregor Li-
brary.

FLINT: Flint Amateur Movie Club (8mm

and 16mm) — Eunice H. Knapp, 1703
Detroit St. Meet 1st Wednesday each
month.

GRAND RAPIDS: Grand Rapids Amateur
Movie Club (8mm and 16mm) — C. A.
Storm, Sec'y, 1026 Thomas S. E. Meet
1st Tuesday each month at 52 Monroe
Ave.

JACKSON: Jackson Amateur 8mm Camera
Club (8mm) — Lila O. Redinger, Sec'y,
1040 S. Jackson St. Meet 3rd Friday
each month.

KALAMAZOO: Kalamazoo 8mm Cinema-

tographers (8mm) — Grant Kinch, Pres.,
806 S. Park. Meet 1st and 3rd Thurs-
days.

LANSING: Capitol Movie Club (8mm and
16mm) — Frank Weinert, Sec'y, 200 S.
Magnolia. Meet 2nd Monday each
month.

Lansing Amateur Movie Club (8mm and
16mm) — R. Briggs, Sec'y, 316 Leslie
St. Meet 1st and 3rd Wednesdays.

LAPEER: Lapeer Cinema Club (8mm and
16mm) — Peter Skeberdis, Sec'y, 1665
Imlay City Rr. Meet 3rd Tuesday of
each month.

PONTIAC: * Pontiac Amateur Cinematog-

raphers (8mm and 16mm) — Welton J.
Jones, 583 E. Tennyson. Meet 1st Mon-
day each month.

SAGINAW: The Saginaw Movie Club

(8mm and 16mm) — Clarence R. Kreu-
ger, Sec'y, P. O. Box 671. Meet every
other Thursday.

ST. CLAIR: The St. Clair Camera Club—
(8mm and 16mm) — S. A. Cartright,
■Vice Pres. Meet every 1st and 3rd
Monday. MINNESOTA

AUSTIN: Austin Camera Club (8mm and

16mm) — Lon Enochson, Sec'y, 205 N.
2nd St. Meet 2nd Tuesday each month.

MINNEAPOLIS: Minneapolis Octa Cine

Guild (8mm) — A. F. Buckles, Sec'y,
5418 Edgewater Blvd. Meet last Tues-
day each month.

Minneapolis Cine Club (8mm and 16mm)
— Dr. Reinhold Ericson, Sec'y, c/o R.
A. Riebeth, P. O. Box 22, (Commerce
Station, Minneapolis.

Suburban Cine Club (8mm and 16mm) —
C. Manly Berry, Sec'y, 1523 Brook
Ave. S.E. Meet last Thursday each
month.

The Gopher Amateur Movie Club (8mm
and 16mm) — Mrs. Norma Sjoquist,
4400 Nawadaha Blvd. Minneapolis,
Minn. Meet last Friday each month.

ST. PAUL: Gopher Movie Club (8mm and
16mm) — Mrs. L. T. Thiets, Sec'y, 580
Wentworth. Meet last Friday of each
month.

Metropolitan Cine Club (8mm and 16mm)
— Dr. M. Martinean, Sec'y, 6 W. 6th
St. Meet 1st and 3rd Wednesday each
month.

St. Paul Amateur Movie Makers (8mm
and 16mm) — Walter Gayman, Sec'y,
314 W. Kellogg Blvd. Meet 1st and 3rd
Tuesday each month.

MISSOURI

KANSAS CITY: The Jayhawk Movie Club
(8mm and 16mm) — J. B. Filing, Jr.,
Pres., 710 MinnesOta“Ave.

Kansas City Cinema Club (8mm and
16mm) — Mrs. John C. Sherard, Sec'y,
2450 Agnes St. Meet 2nd and 4th Wed-
nesdays.

ST. JOSEPH: St. Joseph Amateur Movie
Camera Club (8mm and 16mm) ■ — ■

Ruthanna Beard, Sec'y, 610 E. Mis-
souri Ave. Meet 2nd and 4th Wednes-
days.

ST. LOUIS: Amateur Motion Picture Club
of St. Louis (8mm and 16mm) — Miss
Eloise Koch, Sec'y, 2738 Accomac St.
Meet 2nd Wednesday each month.

MONTANA

BILLINGS: Billings Movie Club • — Louis

M. Moos, Sec'y, 311 Wyoming.

NEW JERSEY

BAYONNE: Bayonne Cine Club (8mm and
16mm) — Thos. A. Dolan, Sec'y, 232
Danforth Ave., Jersey City. Meet 2nd
and 4th Fridays.

CLIFTON: Clifton Cinema Club (8mm and
16mm) — J. G. Elgersma, Sec'y, 43
Sears PI.

EAST ORANGE: Cinema Club of the Or-
anges (8mm and 16mm) — Gordon 'T.
Butz, Sec'y, 480 Clifton Ave., Newark.
Meet 3rd Friday each month.

LINDEN: Linden Cinema Club (8mm and
16mm) — Barbara Cohen, Sec'y, 4 Uni-
versity Circle. Meet 2nd and 4th
Thursdays.

MAPLE SHADE: The Wedgewood-Draper
Club (8mm) — William Hoover, Sec'y.
Meet 2nd and 4th Wednesdays.

MAPLEWOOD: The Maplewood Amateur

Movie Club (8mm and 16mm) — Mrs.
Fred W. Miller, Sec'y, 13 Rynda Rd.

MILLBURN: Gibraltar 8mm Club (8mm)
— M. H. Sanders, 85 Greenwood Dr.

NUTLEY: * Cinemen Club of North Essex

(8mm and 16mm) — J. E. Nestell,
Sec'y, 18 Shepard Pr. Meet 3rd Thurs-
day each month.

PASSAIC: Passaic Y. M. C. A. Cinema

Club.

TRENTON: Trenton Movie Makers (8mm

and 16mm) — Jules Y. Shein, Sec'y,
521 S. Warren St. Meet either 1st or
2nd Friday each month.

NEW YORK

ALBANY: Albany Cine Camera Club (8mm
and 16mm) — A. J. Young, c/o Albany
Hdwe. & Iron Co. Meet 2nd Tuesday
each month.

BINGHAMTON: Cinema Club of The

Triple Cities — Edwin Moody, Sec'y.

BRONX: Bronx Amateur Cinema Club

(8mm and 16mm) — Nicholas H. Zella,
Sec'y, 384 E. 193rd St.

BROOKLYN: Brooklyn Amateur Cine Club
— Irving Pollock, Pres., 91-01 64th Rd.,
Rego Park, L. I. Meet every two
weeks.

Brooklyn Chaper No. 1 of Reel Fellows
(8mm and 16mm) — Fred Beraud, Pres.,
1535 78th St.

BUFFALO: The Amateur Cinema Club of

Buffalo (6mm and 16mm) — Howard E
Evert, Sec'y, 276 Middlesex Rd. Meet
2nd Monday each month.

Niagara Cinema League (8mm and
16mm) — K. N. Hadley, Sec'y, 103 'Villa
Ave. Meet 3rd Wednesday each month.

ELMIRA: Southern Tier Cinema Club (8mm
and 16mm) — Wm. J. McCarthy, Sec'y,
504 Dewitt Ave. Meet last Friday each
month.

ENDICOTT: I. B. M. Cine Club, (8mm and
16mm) — H. L. Read, Sec'y, Interna-
tional Business Machines Corp.

JOHNSON CITY: I. B, M. Cinematogra-
pher's Club — W. M. Muir, Pres., R.D.
No. 2.

LONG ISLAND: Queens Cine Club (8mm
and 16mm) — Jack Jacoby, 103-17 125th
St., Richmond Hills, L. I.

MOUNT KISCO: Mount Kisco Cinemats

(16mm) — Robert F. Gowen, Sec'y,
(Thilmark Park, Assining, N. Y. Meet
1st Monday of each month.

MOUNT VERNON: Mount Vernon Movie

Makers (8mm and 16mm) — N. W.
Knight, Sec'y, 258 Westchester Ave.
Meet 3rd Tuesday.

NEWBURGH: Newburgh Amateur Cinema
Club (8mm and 16mm) — Robert S.
Kelly, Sec'y, 217 North St. Meet 2nd
Thursday each month.

NEW YORK CITY: Graphic Photo Guild
— 1924 Washington Ave. Nat Rosen-
thal, Recording Sec'y.

Imperial Motion Picture Club (16mm)- —
G. Jenny, Sec'y, 305 W. 72nd St. Meet
every Sunday and Wednesday.
Trafalgar 7-8669.

Metropolitan Motion Picture Club, Inc.
(8mm and 16mm) — Robert M. Coles,
Sec'y, 35 E. 20th St. Meet 2nd Thurs.
day each month.

New York City 8mm Motion Picture Club
— Walter C. Mills, 35 Park View Rd.,
Bronxville. Meet 3rd Monday.

Telephone Camera Club of Manhattan —
Thos. G. Herendeen, Room 1958, 195
Broadway.

PEEKSKILL: Peekskill Sport Center, Inc.,
830 South St.

ROCHESTER: Rochester Amateur Movie

Club (8mm and 16mm) — D. W. Mac-
Farlane, Sec'y, 52 Edgemond Rd. Meet
1st and 3rd Thursdays each month.

ROCKVILLE CENTER, L. I.: Rockville

Amateur Cinema Club.

SCHENECTADY: Schenectady Photograph-
ic Society Movie Group (8mm and
16mm) — E. H. MacMullen, Sec'y, 13

State St. Meet 1st Wednesday each
month.

STATEN ISLAND: Staten Island Cinema
Club (8mm and 16mm) — Frank E.
Gunnell, Sec'y, 34 Colonial Court,
West New Brighton. Meet 2nd Tues-
day each month.

Staten Island Movie Makers (8mm and
16mm) — Harry S. Wilson, Sec'y, 34
Rokeby PI.

SYRACUSE: Syracuse Amateur Movie

Makers (8mm and 16mm) — D. Lisle
Conway, 111 Ruskin Ave. Meets every
other Monday.

VALLEY STREAM, L. I.: Valley Stream
Camera Club (8mm and 16mm)- — John
H. Trunk, Sec'y, 34 Cherry St. Meet
1st and 3rd Wednesday each month.

NORTH CAROLINA

MORGANTON: Morganton Camera Club,

Movie Division — Edw. H. Hairfield,
Jr., Sec'y, Box 793.

OHIO

AKRON: Buckeye Camera Guild (8mm

and 16mm) — W. G. Marksity, Sec'y,
1080 Brown St. Meet every other Mon-
day.

CLEVELAND: Aremac Club (8mm and

16mm) — W. J. Belinger, Sec'y, Box
2401, E. Elveland Sta. Meet every 3rd
Thursday.

Cleveland Amateur Cinematographers
(8mm and 16mm) — J. J. Worz, Sec'y,
3728 W. 136th St. Meet 1st and 3rd
Wednesdays in Hotel Carter.

Cine Hobbyist Club (8mm and 16mm) —
Mrs. R. Glazer, Sec'y-Treas., Central
YMCA, Prospect and East 22nd St.
Meet every Friday night.

COLUMBUS: (Tolumbus Movie Makers —
Arthur Robinson .Sec'y, 34 N. 3rd St.

DAYTON: Cinema Research Club (8mm

and 16mm) — Edward A. Lucid, 1625 E.
4th St.

Dayton Cinema League — P. C. Beach,
Sec'y, 2240 E. 5th St.

FINDLA'Y: Findlay Camera Club — Paul

W. Miller, Sec'y, 402 S. Blanchard St.

GALION: Gallon Camera Club (8mm and
16mm) — Mary Postance, Sec'y, 377 N.
Market St. Meet 1st and 3rd Tuesdays
each month.

HAMILTON: The Movie Makers Club—

Clinton W. Bergen, Pres., 1269 Har-
mon Ave.

MANSFIELD: Mansfield Movie Club —

Dr. L. B. McCullough, 78 Park Ave. W.

MOUNDSVILLE: Trojan Production Co. —

Jacquelyn Rusen, Sec'y.

MOUNT VERNON: Mount Vernon Cam-

era Club (8mm and 16mm) — Frank J.
Van Vorhis, Sec'y, 306 N. Main St-
Meet 1st and 3rd Tuesdays each month.

NEWARK: Y.M.C.A. Movie Makers (8mm

and 16mm) — C. I. Grimm, Pres., Ar-
cade Annex. Meet 1st and 3rd Wed-
nesdays

NORTH CANTON: North Canton Cin-

ema Club (8mm and 16mm) — R. L.
Wearstler, Sec'y, R. D. 6, E. Maple
St. Ext. Meet 1st Friday each month.

SPRINGFIELD: Springfield Flicker Club

— Alfred W. Schmid, Sec'y, 171/2 W
Grand Ave.

TOLEDO: The Toledo Cine Club (8mro
and 16mm) — 517 Madison Ave. H.
Kline, Sec'y, 4613 Whiteford Rd. Meet
3rd and 4th Mondays.

WOOSTER: Wooster Amateur Movie

Makers (8mm and 16mm) — Howard
W. Keister, Sec'y, 218 W. University
St. Meet 3rd Monday each month.

YOUNGSTOWN: Youngstown AmateuI

Movie Club (8mm and 16mm) — Fred
Deiter, Sec'y, 52 Wesley Ave. Meet 1st
and 3rd Mondays.

OKLAHOMA

NOWATA: Nowata Movie Club (8mm and
16mm) — Miss Thelma Hagan, Sec'y, 802
S. Peran St. Meet 1st Friday each
month.

OKLAHOMA CITY: Movie Makers Club
of Oklahoma City — Mary Francis,
Sec'y, 312 Fidelity Bldg,

TULSA: Tulsa Am-mo Club (8mm and

16mm) — Ralph C. Crosby, Pres., 15 S.
Sandusky. Meet 1st and 3rd Wednes-
days.

OREGON

EUGENE: Cascade Lens and Screen Club
(8mm and 16mm) — Lynn Harris, 1511
Moss St.

MEDFORD: Medford Movie Club (16mm)

— Mrs. George E. Tucker, Sec'y, 37
Kenwood Ave. Meet 3rd Saturday.

NORTH BEND: Coos Bay Camera Club

(8mm and 16mm) — Ernest Rollins, Gen-
eral Delivery.

Southern Oregon Cinema Club — W. Ber-
nard Roberts, Pres., 922 Reddy Ave.

PORTLAND: Portland Cine Club, Inc.

8mm and 16mm) — Arthur E. Gibbs,
Sec'y, 1925 N. E. Knott St.

PFNN*tYT VANIA

ALLENTOWN: Allentown Y. M. C. A.

Cinema Club — Aral M. Hollenbach,
Sec'y, 1229 N. 19th St.

PAGE 395

?{home movies for august

I EAST McKEESPORT: Amateur Cinema-

tographers of East McKeesport (8mm
.! and 16mm) — J. J. Carbaugh, 914 4th
1 St., East McKeesport.

LEBANON: Lebanon Valley Camera Club
' (8mm and 16mm) — George Kline,

Sec'y, 470 N. 4th St.

NORRISTOWN: Mrs. Mary Leonard, Sec'y,
(8mm and 16mm), 618 De Kalb St.
Meet every 3rd Monday.
PHILADELPHIA: 8-8 Club (8mm) — Mrs.

Robert H. Connor, Sec'y, 6707 Linmore
Ave. Meet 1st and 3rd Thursday each
month.

'] ‘The 8-16 Movie Club — Harry G. Brau-
tigam, Sec'y, 560 Marwood Rd.
j Philadelphia Cinema Club (8mm and
16mm) — George A. Pittman, Sec'y, 1808
E, Tulpehocken St. Meet 2nd Tues-
day each month.

North End Cinema Club (8mm and
' 16mm) — R. C. Straka, Sec'y, 1711 Harp-

] ster St,, N. W. Pittsburgh. Meet 1st
i and 3rd Tuesdays of each month.
North Borough's Y. M. C. A., 629 Lin-
coln Ave,, Bellevue.

PITTSBURGH: Pittsburgh Amateur Cinema
Club (8mm and 16mm) — Miss Rose
Goldman, Sec'y, 319 Amber St. Meet
1st and 3rd Wednesday each month.

] POTTSTOWN: Pottstown 8mm Movie Club
(8mm) — Wm. J. Weiss, Sec'y, 874 N.
Charlotte St. Meet 1st Tuesday each
month.

READING: Berks Camera Club (8mm and

16mm) — L. K. Clouser, 410 N. 12th St.
Meet 3rd Tuesday each month at 611
, N 11th St.

I SCRANTON: Scranton Cine Associates

• (8mm and 16mm) — George Ecker,

: Pres., Traction Bldg., 234 Lackawanna

j Ave.

1 SUNBURY: Sunbury Amateur Cinema Club
J (8mm and 16mm) — David Lenker, Sec'y,

j 346 Chestnut St. Meet 1st and 3rd

3 Mondays.

RHODE ISLAND

Ji RHODE ISLAND: Providence Cine Club

I (8mm and 16mm) — Arthur M. Sharp,

I Sec'y, 1624 Smith St., Centredale.

tj Meet 1st Wednesday each month.

! SOUTH DAKOTA

A SIOUX FALLS: Sioux Falls Amateur Cine

!j| Club — (16mm and 8mm) — H. E. Han-

I son Harold's, 308 S. Phillips Ave. Meet

]| 1st Monday each month,

YANKTOWN: Yanktown Camera Club —

I Arthur J. Smith, Pres., 414 Capitol St.
A,! TENNESSEE

i JACKSONVILLE: Jacksonville Movie
Makers, P. O. Box 56.

MEMPHIS: W. G. Snowden, Sec'y, Box
2073, DeSoto Station.

TEXAS

DALLAS: Dallas Cine Club (8mm and

16mm) — Mrs. E. B. Bryan, 411 S. La-
mar St.

FORT WORTH: Movie Makers Club (8mm
and 16mm) — J. C. Duvall, Pres., 604
i< Burk-Burnett Bldg.

I HOUSTON: Houston Cine Club — Mrs.

I Rex Brewer, Corr. Sec'y, 1501 San

■I Jacinto.

LUBBOCK: The Hub Cine Club (8mm) —

E. M. Copp, Sec'y, 1608 23rd St. Meet

S'l every other Monday.

UTAH

! LOGAN: Logan Amateur Cinema Club

it, (8mm and 16mm) — Mrs. E. L. Hansen,

Ii Sec'y, Logan, Utah.

I SALT LAKE CITY: Utah Amateur Movie
Club (8mm and 16mm) — C. F, Solo-
mon, Jr., Sec'y, 1471 Browning Ave.

I Meet 2nd Monday of each month.

VIRGINIA

LNYCHBURG: Hill City 8 Movie Club

(8mm) — Nowlin Puckett, Correspond-
ing Sec'y, 822 Floyd St. Meet once a
month.

NORFOLK: Norfolk Amateur Movie Club
(8mm and 16mm) — G. F. Keeley, Sec'y-
I' Treas., 145 Granby St. Meet 3rd Tues-

i day each month.

WASHINGTON

CENTRALIA and CHEHALIS: Cine Club
(8mm and 16mm) — Arnold C. Werner,
KELA, Centralia. Meet 1st and 3rd Fri-
day each month.

EVERETT: The Home Movie Club of

Suohomish County (8mm and 16mm) —
C. L. Arnold, Sec'y, Box 702B, Route
3. Meet 2nd Tuesday each month.

SEATTLE: Northwest Amateur Cinema

League — Carlos E. Grant, 915 Green
Bldg., Seattle, Wash.

Roosevelt Movie Club (16mm) — Jayne
Stokes, Sec'y, Roosevelt High School,
2032 Franklin Ave. Meet every other
Wednesday.

Seattle 8mm Club (8mm) — W. B. Bow-
den, Sec'y, 546 Dexter Horton Bldg.
Meet 2nd "ruesday each month.

TACOMA: Tacoma Cinema Club (16mm)

— Geo. Miller, Pres., P. O. Box 508.
Meet last Monday each month.

WALLA WALLA: Walla Walla Cinema

Club (8mm and 16mm) — Cromie L. Wil-
son, Sec'y, 715 Catherine St. Meet
4th Monday.

WENATCHEE: Wenatchee Cine Club —

Mrs. Arnold Nelson, Sec'y, Rte. 4, 9th
St,

YAKIMA: Yakima Amateur Movie Club

(8mm and 16mm) — William Hassell,
Pres., 1208 W. Yakima Ave. Meet 4th
Wednesday.

Amateur Movie Club: Paul Thompson,

Pres., 709 S. 4th St.

I I II [

Backgrounds

By EDMUND TURNER

whhts „

PAGE 396

HOME MOVIES FOR AUGUST

CLflUIMED • nDVEIITIi;illi:

• Are you in the wnarhet

. . . for a camera, projector or some other article of
used cine equipment? Seeking bargains in films,
processing or titling? Then youTl find opportunities
in these classified adsl

O Have you somethiny to sell

... or trade — some article of cine equipment you've
outgrown or no longer use? Turn it into cash with a
Home Movies classified ad!

RATES: Ten cents per word; minimum charge, $2.00 cash with order. Closing
date, tenth of preceding month. HOME MOVIES does not guarantee goods adver-
tised. Send ad copy to 6060 Sunset Boulevard, Hollywood, California.

EQUIPMENT FOR SALE

• BASS SAYS: Dog-gone good bargains for
dog days.

USED CAMERAS

16 mm. Stewart-Warner, F:3.5 lens, $13.50.

16 mm. Agfa 40 ft. magazine camera, F:3.5
lens. $22.50.

16 mm. Simplex Magazine, F:3.5 lens, $22.50

16 mm. Filmo 75, Cooke F:3.5 lens, $30.00.

16 mm. Filmo 70A, Cooke F:3.5 lens and case,
$42.50.

16 mm. Filmo 121 Magazine, Cooke F:2.7 lens,
$52.50.

16 mm. DeVry turret front, 20 mm. F:3.5, 1"
F:l.5 and 3" F:4.5 lenses, $87.50.

16 mm. Movikon. coupled range finder, Son-
nar F:l.4 lens and case, $235.00.

USED PROJECTORS

Bell & Howell 16mm. Model 57 reconditioned,
250 watt, 50 volt, case $45.00.

16 mm. Bell & Howell Diplomat, 750 waft,
with case, $125.00.

16 mm. Bell & Howell Model I29A, 1600 ft.
capacity, 750 watt lamp with case, $135.00.

SOUND ON FILM PROJECTORS

RCA Model PG80, with 400 watt lamp. $85.00.

Ampro UA, 750 watt. 15 watt output, $195.00.

Bell & Howell Model 120 D, 750 watt lamp,
$175.00.

Limited quantity: lllustravox Film Slide and
Disc Projector, for 1 10 volt current, com-
plete with screen, each $37.50.

In stock: New Bolex 8 mm. or 16 mm., new
Movikon 8 mm. or 16 mm.; Bell & Howell
Auto Load Master turret models.

Auricon 16 mm. Recorders In stock, new mod-
el. $695.00.

Auricon Synchronous Motor for Cine Special,
$125.00.

Don't horse-trade Cameras until you write
Bass first. Free on request: 84-page Bass
Cine Bargaingram, an authority for silent
and sound equipment.

BASS CAMERA COMPANY

Dept. HC, 179 W. Madison St. Chicago. Illinois

• BELL & HOWELL Filmo sound Master pro-
jector complete with auxiliary I Inch lens, 100
extra feet of speaker cable, seven foot Da-
Lite screen, Super tripods. Used twice. Com-
plete outfit, $450.00. MARTIN HUGHSON,
141 Brantwood Road, Snyder, New York.

• CRYSTAL Beaded Screens: 30"x40" Box De-
Luxe, list $12.00, now $6.25. 36"x4B", list $17.00,
now $9.00. 30"x40" Tripod, now $5.75. 36"x48"
Tripod, now $8.50. Roll up 36"x48". $4.50. We
ship prepaid. ABBE FILMS, 1265-H Broadway,
N. Y. C.

• PAWNBROKERS since 1858. Specializing lib-
eral loans on cameras anywhere in United
States. Free Information and appraisal. H.
STERN, 872 Sixth Ave., New York.

• CLEARANCE Sale — 8-16 mm. movie screens,
cases, up to 50% discount. Cameras, projectors,
library films. NO-WAT-KA, 225 Main, Passaic,
N. J.

• NEW or used Bolex or Keystone 8 and 16
mm. outfits, extra lenses, filters, other movie
equipment. GLENN MISHLER. Warren, Ohio.

• WANTED — Any good standard make 16mm.
cine camera, extra lenses. JACK WOOD-
WARD, 431 West 7th St., Los Angeles, Calif.

• 16 MM FILMO 75, like new, takes needle
sharp pictures, Cooke f:3.5 lens, case, $28.00.
Write ED HUTH, 120 Eller Ave.. Buffalo. N.Y.

ACCESSORIES

• AUXILIARY Lens Kits — six supplementary
lenses of 16". 18". 20". 24". 32" and_ 40"
focal lengths. Can be used on all titlers
which provide for Interchange of lenses. Also
ideal for general close-up photography. Com-
plete kit, $3.00. Separate lenses, 60c each.
Also available In 6", 8", and 10" focal lengths
for ultra-closeup work. HOLLYWOOD CINE
PRODUCTS CO., 3221 So. Figueroa St., Los
Angeles, Calif.

SOUND EQUIPMENT

• DUAL TURNTABLE, 78 Rev. complete with
amplifier, horn and microphone used only a
short time, will sacrifice for only $60.00. Also
can furnish dual turntables for broadcastfng
’into your radio set. Recorders with Amplifier
from $60.00 up cutting at either 33-1, /3 or 78
revs. Blank records for recording. At radio
and camera headquarters — SUMNER RADIO.
3307 W. 54th St., Los Angeles, Calif.

FILMS

• SHOOT with professional precision of Hol-
lywood Cameramen! Our film individually
processed minimizes flatness, over-under-expo-
sures, grain and film cost. Original "Person-
al Plotting Plan" eliminates guesswork, guar-
antes top-flight results. ORBIT LABORA-
TORIES, 1157 No. McCadden, Hollywood,
Calif., for details and prices.

• BULK FILM — Positive In plain, lavender,
yellow, amber — 400 Ft, 8/8 or 16, $3.85, 100
Ft. $1.00. Weston 24-16 Pan. N.H., 400 Ft.
8/8 or 16, $11.65, 100 Ft. $3.20. Weston 64-
40 Pan N.H., 400 Ft. 8/8 or 16, $12.65, 100
Ft. $3.60. Cameras, projectors, accessories.
R. B. CAMERA & PHOTO SUPPLY CO., 3357
E. 66th St., Cleveland, Ohio.

• 8mm - 16mm Bulk films; movie and still
cameras, projectors, accessories. Castle, Nu-
Art, Exclusive film library. Join our Movie
A Month Club. AIRLINE PHOTO SUPPLY.
Box 1739, Cleveland, Ohio.

FILMS

• SPECIAL! 100' 16 mm. film Weston 12,

non-halation, daylight loading, including pro-
cessing, $1.75. RITTER FILM SERVICE, 629
Lyman Ave., Oak Park, Illinois.

TITLES

• INGENIOUS new Revers-O-Title back-
grounds transform your simple typewritten
lines into interesting, white lettered, pictorial
titles. Send 25c for sample kit. HOLLYWOOD
MOVIE SUPPLY CO., North Hollywood. Calif.

PROCESSING SERVICE

• MOTION picture processing. 100' 16 mm.,
75c; 50' 16 mm., 50c; 25' 8/8 mm., 35c; 25'
8 mm., 25c. RITTER FILM SERVICE. 629
Lyman Ave., Oak Park, III.

• GUARANTEED 8 mm., 16mm., 24-hour re-
versal. processing. ESO-S, 3945 Central, Kan-
sas City, Mo.

FILM RELEASES

• "STREAMLINES" — New Hollywood "It"
girl subject. Confessions of a contest beauty.
100 ft. 16mm. $2.75. 8mm. 50 ft. $1.75 post-
paid. MERCURY PICTURES, 1157 N. McCad-
den, Hollywood. Calif.

• 8mm. FILMS! Castle releases, 50 ft., 180
ft., new prints, good used prints. Sales, ex-
changes, trade-ins. RIEDEL FILMS, Dept.
HM-841, 2221 W. 67th St., Cleveland, Ohio.

• HOLLYWOOD productions galore! Hun-
dreds to choose from! Bulk film. Bargain lists
yours for the asking. ERWINE'S CINE LAB-
ORATORIES, Allentown, Pa.

• ALASKA Bear, Caribou, Mountain Sheep,
and Salmon — 16 mm. Kodachrome or black
and white. THE ALASKA SPORTSMAN, Ketch-
ikan, Alaska.

• EXCHANGE 16mm. 400 Ft. 85c. Old timers,

"Movies March Along" (all big stars 1896-
1928) 360 R. $9.75. MEGIFILM-G. P. O. Box
390, N. Y. C.

• ADULT FILMS, 8-16 mm. (not arts). Over
100 sublectsi Lists, lens cloth, lOc. No post
cards answered. JENKINS, 392, Elmira, N.Y.

• SOUND and Silent Films exchanged, bought,
sold, rented. Bargains always. New Free lists.
FRANK LANE, 5 Little Bldg., Boston, Mass.

BOOKS

• Are you a "beginner" In the ranks of ama-
teur movie makers? Would you like to know
how to use your camera to the very best ad-
vantage, yet avoid the mistakes and wasted
film that so often results from lack of knowl-
edge of fundamentals of cine camera opera-
tion? Then order a copy of "How to Use a
Movie Camera." Just 50c, and well worth It.

Would you like to learn how to process your
own titles — what equipment to use — what ex-
posure to use — all about auxiliary lenses — title
areas, etc.? Woud you like complete plans for
building a very simple and versatile home
movie titler? Then send for "How to Title
Home Movies" — the latest and one of the
most authentic books ever written on the sub-
ject. Price $ 1 .00 per copy. We pay the postage.

VER HALEN PUBLICATIONS
6060 Sunset Bivd. • Hollywood. Calif

Emulsion Ratings for 8mm and 16mm Films

Scheiner

Weston

G-E

Scheiner

Weston

G-E

>»

AGFA

GENERA

16mm SSS Pan

100

125

100

Super Meteorpan

16mm Supreme Pan. Negative. . .

100

Movetone Ortho

16mm Positive

16mm Plenachrome

KIN 0 LUX

8mm Twin-8 Hypan

No. 1

8mm Filmopan

No. 2

No. 3

JDUPONT

. .20

CONSUMERS

Super Pan (Rev.) Type 302

100

Ortho

Superior-2 (Neg-Pos or Rev) Type 301

Panchro

Type 314 Pan (Neg.-Pos. or Reversal) .

Colorcrome

Positive Type 600

1/6

Sound Recording Positive Type 601 .

HOLLYWOOD

S. S. Pan

EASTMAN

Pan

16mm Super XX Pan

100

125

100

Semi-Ortho

16mm Super X Pan

16mm Safety

UNIVEX

16mm Sound Pan

Standard

16mra Pan. Negative

Ultrapan

16mm Positive

8mm Super X Pan

GRAPHICHROME

8mm Regular Pan

Regular

Kodachrome (8 and 16mm)

14*

Plus

Kodachrome “A” (8 and 16mm)

18*

12*

Superpanex No. 100

100

Superpanex No. 24

GEVAERT

Colortene

Super Reversal . .-rrrTTT

Panchro

Ortho

*With filter.

^Ratings for last four Dupont films are for straight development. Ratings for reversal depend upon processing formulas and technique employed.

Check your conception of film quality against these basic
characteristics of Cine-Kodak Film; —

FINE GRAIN

For clear, clean-cut images on larger screens, it's essential that the
emulsion of the film be scientifically produced and processed to
yield and maintain minimum grain. Cine-Kodak films enjoy that
advantage.

PANCHROMATISM

For the most natural black-and-white rendering of color, for most
accurate response to filters, wide-band panchromatic sensitivity is
essential. All Cine-Kodak films are highest type panchromatic.

SPEED

To attain maximum speed without maximum grain is a tough problem.
But in such Cine-Kodak films as 16-mm. Super-XX and 8-mm. Super-X
you'll find the latest and best solution of that problem.

BRILLIANCE

It's a matter of contrast, of latitude, of resolving power or sharpness
— all characteristics brought to high refinement in Cine-Kodak films.

COLOR

In full color, Kodachrome's unique capability and ease of use are
universally hailed and enjoyed.

VALUE

All Cine-Kodak films are Kodak-processed without added charge.
Their uniform reliability is a quality beyond price, yet prices for all
Cine-Kodak films are attractive and, in terms of value, truly economical.

All this you may have discovered for yourself. Veteran movie
makers never forget it.

EASTMAN KODAK COMPANY, ROCHESTER, N. Y. ^

f 4 JUS ® were to jot down the facilities

your ideal movie camera should provide,
you’d come mighty close to a description
of Filmo Auto Master. For the features ad-
vanced amateurs requested were designed
Piy^. into this camera. It has a turret head that

*^ounts three lenses r/W their matching finder
objectives, for split-second readiness. Maga-
zine loading that permits quick interchange of V
film even in mid-reel. A film chamber door that ■

t>e opened even when the camera is on a "

L ^ tripod. Five operating speeds including slow

motion. Single-frame exposure control. Starting
button lock. Enclosed, error-proof finder. Com-
plete, built-in exposure guide for both color and
P black-and-white film. See it at your dealer’s.

These three pictures illustrate one of the advantages of a turret head — readiness to take long shot,
medium shot, and close-up in quick succession without moving from the tnost convenient position.

Show TALKIES in Your Home

Thousands of Films at Moderate Rentals

FromB&HFilmosoundLibrary youcanrent
fine sound film programs to suit any taste.
Here you’ll always find the latest l6mm.
releases — B&H already has contracted for
new films throughout 1942.Thus B&FI makes
it possible for you to entertain at home with
such stars as Deanna Durbin in First Love
and Alad About Alusic, Charlie McCarthy in
Letter of Introduction and, with W. C. Fields,
in You Can't Cheat an Honest Alan; and such
films as East Side of Heaven, Rage of Paris, and
Green Hell.

Have you missed seeing some of the best
films in the theaters.^ Would you like to
bring the world to your children, perhaps
in correlation with their school studies?
To provide musical accompaniment^ for
your silent films, or to lecture^ with them
through an amplifier and speaker? To
make sound recordings^ on disc records?

You can do all this, and more, with a
Filmosound. This l6mm. sound-on-film
projector is as easy to use as your silent
machine. And because it will do every-
thing your silent projector will do,
you can trade that projector in on a
Filmosound.

1 With Filmosound plus B&H Record Player

2 With Filmosound plus B&H Microphone

3 With Filmosound plus B&H Disc Recorder

This Filmosound costs
no more than the finest
Filmo Silent Projectors
did, not many years ago.
Ask your dealer to dem-
onstrate it.

BELL & HOWELL COMPANY
1825 Larchmont Ave., Chicago, 111.

|r' Please send informative literature about: ( )
1/ Filmo Auto Master and Auto Load I6mm.

I Cameras; ( ) Filmosounds and 16mm. sound
' films; ( ) Filmo 8mm. Cameras; ( ) other

. equipment

for informativi
this or other md
mail the cou^H

Name. . . .
Address.

the only 16mm. camera with

TURRET HEAD and
MAGAZINE LOADING

Price 25c

YEARLY SUBSCRIPTION. $2.00

Dick Whittington Photo

September • 1941

LARGEST CIRCULATION OF ANY AMATEUR MOVIE MAGAZINE!

Double

Features

are O. K. . .

tH.RED

, Minnie. ' h. While s

-P-' ""doT.rso -nd r.d,n. b.lo-e

tr."b”. ... «...

;or..c U-” ■ ; ; . ■

100 feet 8mm

for your home if one of them is a Holly-
wood Home Movie featuring Mickey
Mouse, Donald Duck, Oswald Rabbit,
Meany - Miny - Moe, or any one of
our several interesting features such as
"Air Stunts." These professional films,
reduced to 8mm and 16mm especially
for home screening, are tops in home
movie entertainment. Go to your dealer
today — ask for a free screening of these
filmsl

MEANY. MINY and MOE in

"HOUSE OF TRICKS"

Meany, Miny and Moe, the comic monkey stars of the

nation s theatre screens, can perform on your home

movie screen, too. In the "House of Tricks" they're at

i ^ T

their best, getting Into all sorts of trouble. Finally

escaping the House of Tricks with what they believe is

'Jlj

a jar of jam, they are given a final jolt of fright when

the jam proves to be a jack-in-the-box from which a

f lil

giant snake emerges. Available In 100 feet 16mm at

$3.00, and 50 feet in 8mm at $1.50. Order by number

— I2I5-A.

mja

AIR STUNTS

A dramatic record of some highly Intricate aerial ma-
neuvers performed by renowned and daring air pilots.
Most scenes filmed "close-up" from other planes.
Specify No. 292-A.

S2.50
1.25

100 feet 16mm
50 feet 8mm

Write For Fatest Catalog — ICs Free!

HOLLYWOOD FILM EIVTEHPHISES, me

6060 SUNSET BOULEVARD

HOLLYWOOD, CALIF.

-5 1941

l/ISORY EDITORS

I K. BAUMGARDNER

I Peoria Cinema Club

IBEZEK

Chicago Cinema Club

HES BIALSON

ateur Motion Picture Club of St. Louis

ISS BROWN

Dallas Cinema Club

ER BRACKEN

ihe 8-16 Movie Club, Philadelphia, Pa.

DE W. A. CADAREHE

Los Angeles 8mm Club

HERSON CLYMA

Detroit Society of Cinematographers

ILL A. DIXON '

Pittsburgh Amateur Cinema Club

DVORAK

Suburban Amateur Movie Club

UR E. GIBBS

Portland Cine Club

i\. HOOK

Seattle 8mm Club

ED F. KAUFMAN

Indianapolis Amateur Movie Club

NESTELL

Cinemen Club

:iSSE A. PELLETIER

Toronto Amateur Movie Club

iRT B. PETERSON

Metropolitan Cine Club

E RIEBETH

Minneapolis Cine Club

^EO. ROTH

Sherman Clay Movie Club

. ROUNTREE

Bay Empire 8mm Movie Club

»UL SNYDER

Norfolk Amateur Movie Club

E. SNYDER

Des Moines Y.M.C.A. Movie Club

. SISSEL

Austin Movie Club

|3. ENION SMITH

Metro Movie Club of Chicago

I at Sacond-Clats MaHer, May 6, 1938, at
ttoffica at Los Angelas, Calif., under the
Act of March 3. 1879.
ption rates: U. S. $2;00 per year. Canada
oraign Countries, {3.00 par year. Single
25c. Canadian and Foreign single copies
Copyright, 1940, by Var Helen Publications.
Advertising rates on application.

Reg. V. S. Pat. OH.

Member Audit Bureau of Circulations

CONTENTS FOR SEPTEMBER, 1941

ITS NEW TO ME — By Cinebug Shopper 402

SCHOOL BEGINS — AND BRINGS NEW FILMING OPPORTUNITIES —

By Jac\ Irwin 411

RADIO SERVES AS AMPLIFIER FOR HOME RECORDER —

By William J. Bornmann 412

FULL PAGE TITLE B.ACKGROUND 41.^

TELEVISION BECKONS AMBITIOUS CINEFILMERS — By Curtis Randall 414

HOW TO FILM A MOVIE WITHIN A MOVIE — By Russell Dic\son 416

FULL P.AGE TITLE BACKGROUND 417

HOW LONG IS A SHOT? — By Stanley E. Andreivs 418

MOVIE OF THE MONTH — By ]. H. Schoen 419

don’t leave the move out of your movie.' —

By George W. Cushman 420

REVIEW OF AMATEUR FILM REVIEWS — By The Editors 421

EXPERIMENTAL CINE WORKSHOP 426

WITH ADVANCED CINEFILMERS 433

THE READER SPEAKS 435

INFORMATION PLEASE 437

TITLE TROUBLES 439

FILM EMULSION RATINGS 440

FILTER FACTORS 444

HOW I KEEP MY CAMERA BUSY 445

TITLE B.^CKGROUNDS — Edmund Turner 447

EDUCATIONAL AND DOCUMENTARY FILMS SECTION

SOUND TRACKS FOR SCHOOL'MADE MOVIES — Godfrey Elliott 422

DO STUDENT'MADE FILMS JUSTIFY THE EFFORT? —

By George W. Cushman 423

NEW CLASSROOM FILM REVIEWS — By George Elliott 424

REVIEWS OF SCHOOL'MADE FILMS 425

SEPTEMBER

NUMBER 9
VOLUME VIII

REEL FELLOWS

A friendly fraternity of
movie amateurs sponsored
by Home Movies maga-
zine. Your membership is
invited.

CHAS. J. Ver HALEN C. J. Ver HALEN, JR. ARTHUR E. GAVIN

PUBLISHER ASSOCIATE PUBLISHER

EDITOR

RAY FERNSTROM

OFFICE OF PUBLICATION

Technical Editor

6060 Sunset Boulevard, Los Angeles, Calif.

Phone GRanite 5149

GEORGE W. CUSHMAN

NEW YORK OFFICE

J. H. SCHOEN

Everett Gellert, 62 West 45th Street

Associate Editors

Vanderbilt 6-5254

C. E. BELL

CHICAGO OFFICE

Photographic Editor

Thompson, 712 Wrigley Building

L. C. BUSCHER

Whitehall 7784

Art Director

HOLLYWOOD'S MAGAZINE FOR THE AMATEUR

402

lt*sa

Utterly new and different in
ease of operation. No set
screws, spring plungers or
other hand operated lock-
ing devices. Completely ad-
justable.

HOME MOVIES FOR SEPTEMBER |^i I

3Vi HI [ W fo

By CiNEBUG Shopper

FHitnr Craig 8mm Enlarg-O-Edi-

xaiior reported to incorporate all the

advantages of the famous Projecto-Editor combined with
the added and exclusive features of permitting the mak-
ing of enlargements
from selected frames
of 8mm films, either
color or black and
white, has been
placed on the market
by Craig Movie Sup-
ply Co., Los Angeles.
DeLuxe Outfit, com-
plete with Senior
Splicer, Senior Re-
winds, Film Cement
and Base, is listed at $59.50. A unique patented optical
arrangement and shutter device is said instantly to allow
the operator to transfer the projected image from view-
ing screen to a special built-in camera at the back of unit.

I Camera is loaded with standard No. 127 film, and nega-
tives obtained therefrom may be used for either contact
printing or enlarging.

of course !

Erected Instantly m
3 Simple, Automatic Movements

There’s nothing like the new Radiant Automatic — nothing
to equal it. A slight pressure on a convenient lever and the
tripod legs slide into position and lock there. Merely turn
the screen case — automatically it locks into horizontal posi-
tion. An effortless pull— again by an automatic clutch,
exclusive with Radiant — your screen is in viewing position
at any height you want it, 17 to 50 inches from the floor.

And What a Screen Surface!

—the Famous Radiant ^^Hy-Flect^^

Every bead is firmly embedded in crystal clear plastic to
give 'permanent, unsurpassed brilliance, clarity and detail.

It stays flat— will not curl. The most rigid machine square
tubing prevents side sway, wrinkles and sags. Yet its
weight is at a minimum. Insist on Radiant at your dealer’s
or write for new illustrated folder.

MANUFACTURING
CORPORATION

1140-46 Superior Street, Chicago, 111.

P .1 p.| Castle Films, New York City, announce |
Lasiie riims most photographic dealers are now j

in position to supply their six latest film releases for 1
8mm. and 16mm. projectors. Leading the list is “Arctic ;
Thrills,” which pictures an Arctic hunting expedition
and shows the lassoing of savage polar bears ; Antarcitc '
ice fioes ; and other little known wonders of the north. j,
“Bowling Aces” is a thrilling study of bowling tech-
nique featuring Joe Falcaro, world’s match champion.
“Mystic India” is reportedly another great Castle travel !
film revealing weird rites and strange sects of a little ’
known land. j

Completing the list are two new film cartoon subjects: j
“Jack Frost” and “Aladdin’s Lamp.” All films are avail- i
able in a variety of lengths and prices in either 8mm. or ■«
16mm. width. i

Latest Kodascope

The new Kodascope Eight-33 Pro-
jector, manufactured by the East-
Qian Kodak Company, contains a number of features
appealing to home movie fans interested in large, bril-
liant, and uniformly light-
ed screen pictures. The
optical system includes a
one-inch f/2 Kodak Anas-
tigmat projection lens,
easily focused by means of
a small arm on the lens
barrel. Directly behind
projector lamp is a pol-
ished mirror, and in front,
a condenser lens easily re-
moved for cleaning.

Affording finger tip con-
trol of major projection
functions, the motor switch,
speed control, and lamp
switch are located on a sin-
gle panel. Lamp and motor
circuits are so arranged

that lamp will not light until motor switch is closed, and
lamp can be turned off for rewinding. An automatic safety
shutter drops into place between the film and the con-
denser if speed of projector becomes too low. Of high

E MOVIES FOR SEPTEMBER

PAGE 403

-^i^cr/crmus

CASTLE FILMS PRESENTS

rwmcs/

Acrm/

VAR/Af^/

IN THESE NEW
FALL RELEASES -

LASSO SAVAGE POLAR BEARS AMID ICE FLOES!

The most gripping adventure daring men ever encounter! A hunt
for savage polar hears in Arctic seas adrift with mighty ice floes!
The heasts are siglited! The chase l)egins! Powerful paws churn
the water! Teeth gnash! The animal fights fiercely as a lasso en-
circles its throat! Now— hrute strength against human skill! A
thrilling adventure picture you’ll never forget !

Don’t wait to own this “collector’s item”! And—
look at the other great new fall movies Castle
offers you !

ON SALE NOW AT YOUR PHOTO DEALER'

★★★A

“MYSTIC INDIA

-C, ;■'»»»

Tj,

y>c.

o/-

A vast

LOW COST

16 MM. SIZE

Headline

Complete

Sound

100 ft.

360 ft.

350 ft.

$2.75

$8.75

$17.50

MM. SIZE

Headline 50 ft.
$1.75

Complete 180 ft.
$5.50

Tun Treat Fun Cartoons.

Twoureai y

\ls best.

famfly'

sub-continent of
nrilUonsconresmlrt^^^^
Weird rites! btrange
crowded bazaars

i! A

teeming
r bonie.
sects !
great travel

picture to own .

hole

Co/!'-' C,7, "‘ng

UOty

30 Rockefeller Plaza
New York

Field Building
Chicago

Russ Building J citn-
San Francisco

riease send me Ca.stle Films' latest 1M12 Catalogue.

Name^

A fldress-

fitnte.

PAGE 404

liPIKI®!® igM;

* Precision Built • Brilliant Performance

CAPTURE THOSE OFTEN REJECTED
SEQUENCES THAT ARE “TOO FAR AWAY”

Scenery . . . Bring closer the full beauty of distant views
— snow capped peaks, colorful hills and jewel-like lakes.

Sports . . . Spills, action, close decisions — the thrills of
long grandstand shots brought up where you can see
what’s happening.

Nature .. .Widen your hobby, get close to nature with
sequences of wild life — birds, small animals, plants, insects.

Candids . . . Increase the "candid” ability of your
camera by catching children, grownups and pets — un-
posed, natural, interesting.

A Teletar Telephoto lens brings enlivening sequences to
your screen . . . clear, sharp, sparkling with realism and
naturalness.

Equipped with focusing mounts to fit 8 mm. and 16 mm.
cameras, the Teletar gives a fine performance every time.
Fully corrected for astigmatism and color, providing a
flat field of exceptional sharpness and detail.

FOR 8mm. CAMERAS

1 inch f. 3.5 $18.00

VA inch f.3.5 $24.00

For Keystone, Revere Regular, Revere
Turret, Bolex.

FOR 16mm. CAMERAS

2 inch f.3.5 $28.50

3 inch f.3.5 $35.00

For Keystone, Victor, Bolex, Filmo. Adapter
available to fit 16mm. lenses to 8mm. cameras.

{Prices subject to change without notice)

On sale at your dealer — or write for details. Dept. HM 9

ILEX OPTICAL COMPANY

ROCHESTER, N. Y.

p i Trade marked “Roto-Fade” because of the uni
raoer revolving principle of its operation, this new
vice for movie cameras produced by Harrison and Ha
son, Hollywood, is said to permit the making of Fa
and Lap - Dissolves
while photographing
in a simple and fool-
proof manner. It is
claimed to be ideal for
adding punch to con-
tinuity and that prop-
er use will be found
helpful in smoothing
out sequences and sav-
ing footage. Fade disc
is entirely enclosed in a light aluminum alloy casing,
tractively finished in Kem Art metal. A radial arm ci
trols fading action.

Said to accommodate all lens mounts up to 22m:
the outfit list priced at $15.00 is furnished complete w
a Duraline Aero-Lock Ring for positive attachment!
lens barrel and a Harrison Dual Snap Shade which p,
mits adaption of filters, if desired, while making fa^
or dissolves.

HOME MOVIES FOR SEPTEN

Jo HEW

quality, the powerful 100- to 125-volt, D.C., or 25- to
cycle A. C. motor assures smooth projection. An e]
cient ventilating fan, mounted on end of motor sh'i
blows air directly on lamp, then through louvers in
of lamphouse.

This new Kodascope is regularly furnished with sta
ard 500-watt, line voltage, T-10, biplane filament lar
however, 300- or 400-watt lamps may also be used
reel arms accommodate 200-foot reels.

IVew Splicer

Franklin Photographic Industries, C
cago, have announced a Super Film S
cer for 8mm and 16mm film, which it is claimed not
includes all the advantages of higher-priced instrume

but offers several

elusive features,
to always maki
perfect splice,
unit is made of s
chromium polia
and is mounted o<
414, X 7-inch bo|
which contains
opening throi
which cut film n
fall. Splicer is pri
at $6.50.

New Radiant Features

Announcement is made
Radiant Manufacturing Coi
Chicago, of a recent Radiant development which brii
to the market a new screen.

Without use of set screws, spring plungers, or otl
hand operated locking devices, the new automatic Radii
screen is erected instantaneously by three simple mo
ments. A slight pressure on a small lever opens the 1
pod legs; a simple turn of the screen case places it ii
horizontal position automatically; an effortless pull li
and locks the screen into position automatically,
hooks, no hanger, no fixed position will be necessary. 7
new screen is adjustable to any height from 17 to 1
inches from the floor by use of the Radiant exclusive auj
matic clutch. Square tubing minimizes side sway. *
parts are cadmium plated and the screen housing is
beautiful crackle-finish.

TO INSURE PERFECT BALANCE

in the heavy-duty AC-DC motor of the
Revere Projector, the armature is thor-
oughly tested by this sensitive instrument.
Only perfectly balanced armatures are
used. Thus, Revere eliminates vibration
in the motor and mechanism. Long-life
brushes and mica commutators in the mo-
tor and helically cut bronze and hardened
steel gears in the driving mechanism as-
sure extra years of quiet and dependable
operation.

8% PROJECTOR

Qiue^ 1^04^,

Modem design and scientific methods of precision construction
have given Revere 8mm Projectors outstanding leadership in fea-
tures essential to brighter and clearer pictures, greater convenience,
better film protection and longer life. Foremost among the refine-
ments are 500-watt lamp, fast F 1.6 lens, AC-DC motor, 300-ft. reel,
rheostat speed control, manual framer, sharp brilliant "stills" with
quick-action safety shutter, 15-tooth sprockets with safety roller
film guides, "three-point" threading, double blower cooling system
and enclosed power rewind (no belts in the Revere) . . . Ask your
dealer for a demonstration! It will quickly prove that Revere gives
you more for your money . . . that the precision-built Revere is
the projector your movies deserve. Literature sent on request.

too-, uuilt a Neiit Reo&ie Qa*n^^!

COMPANY

Chicago, Illinois

REVERE MODEL 99

Here is the camera for maximum
versatility. It has the basic fea-
tures of the Revere 88, plus a
turret head for three screw-type
lenses, and an extra optical view
finder for use with telephoto
lenses. Complete with one Wol-
lensak 12.5mm fast
F 2.5 lens

REVERE MODEL 88

To put on theatre-quality
home movie shows, requires
a good camera as well as a
good projector. The Revere
Eight Is the answer. Its fine
lens and precision mechan-
ism will give you perfect
movies ... in brilliant
natural color, or sparkling
black-and-white. Eastman-li-
censed spool and spindle.
Revere automatic film-
threading sprocket for quick
easy loading and steady
movies. Five speeds, 8, 12,

16. ZH, and SI frames per
second. Built-in view finder with large eye-piece. COM-
PLETE with Wollensak 12.5mm F 3.5 lens . . . S32.50;
with F 2.5 lens . . . $44.50’ '*^'th F 1.9 focusing mount
lens . . . $64.50- Complete with Bausch & Lomb
12.7mm F 3 lens . . . $37.50-

REVERE DE LUXE
MODEL 85
PROJECTOR

offers the ultimate in convenient projec-
tion. In addition to the superior basic
features of the Model 80, the De Luxe 85
has a beam threading light, sensitive
gear-tilting device with control knob on
the base of the projector, duo-shield
light diffuser and de luxe carrying
case. Complete with lamp, lens and

case S75.00

REVERE CAMERA

Dept. 9 HM, 320 East 21st Street

S65.00

PAGE 406

The newest thing for movies . . !

STROBOSOUND

Ploys records up to 16” fully syn-
chronized with your projector ut
either 33 1-3 or 78 R. P. M’s. . . .

Your projector is also synchronized with STROBOSOUND by
means of a stroboscope, thus insuring constant speed of both
during projection of pictures.

Other features are; Heavy duty 110 volt 60 cycle turntable
motors; latest type tubular pickup arms; central control panel;
heavy duty carrying case covered in black leatherette; and
ample lengths of cable for ordinary use. Be sure to specify make
of your projector when ordering!

Price Complete

$149.50

Junior Model. Same features as above
except has single turntable

$98-50

All Prices F.O.B. San Francisco

Arthur H. Hurt

2125 - 32nd Ave. Son Francisco, Calif.

HOME MOVIES FOR SEPTEI

Jr, NEW

Frame Counter

As a further aid to Bolex camera (|
ers, American Bolex Company,
York City, has produced the Bolex Frame Counter
as an accessory for all Bolex cameras serial-numb

higher than £
which cameras
vide means for o’
attachment of c
ter to motor c;
shaft, the di
counts while cat
is in forward o
verse motion
whether being
by spring or ele|
motor or by
Priced at $17.50
with Special \\
ing Handle price
additional $5.00
Counter is sai
eliminate guess-
and insure abs
accuracy in m.
scene transition
In attaching counter to camera, the name plate i
moved and counter inserted in the plate space
screws fasten it. An extension shaft connects witi
camera shaft and plate goes into special place proA
on side of the counter. The special spring motor win
handle is required to clear the frame counter.

Adding Sound

The Camera Mart, Inc., New
City, announce enlarged facilities
adding sound to 16mm. movies, black and white or
chrome. Full details of their service is explained i
informative folder now being made available free t
terested parties.

The folder explains what films may have sound a
and the method of preparing such films for sound tr
Also itemized are the costs of various steps in recoriji
16mm. film. The Camera Mart, Inc., advises also 1
they maintain a complete editorial staff ready to ra
any and all services necessary in connection with!
tomer’s films, and that another staff is fully equi
and experienced for producing educational, Indus
sales promotional, and personal films for clients, e
sound or silent.

Official Films

Official Films, Inc., New York |
report they are expanding their ‘™i
sonality Series” of films with a new group of Smm.j
16mm. sport films to be known as “Famous Fig
Having secured exclusive
rights for reproduction
of some fifty famous
fight films, the new re-
leases for home movie
projectors will feature
such famous ring per-
sonages as Benny Leon-
ard, Gene Tunney, Jack
Dempsey, Louis Firpo,

Jack Sharkey, Max
Schmelling, Joe Louis,
and others.

This series of pictures will supplement such well kr:
home movie films as “Championship Basketball,” ‘
low Through” in which Dick Metz and Horton S
demonstrate good golfing. Also to be released annji
are Officials’ “Newsthrills” and “Touchdown Thrjl
These will be released near close of each year and 1 1
for 1941 are now being prepared for early release, j

official FILWS

^Mrk

,<F,

. 16 MM.

FAMOUS
FIGHTS

Official Films has the exclusive
Home Movie rights to all fights

Millions of people paid millions of
dollars to see these historic, blood-
tingling fights. And now you can see
them all— AS often as you wish— for
a fraction of the price!

1. Firpo-Brennan

2. Sharkey-Maloney

3. Joe Louis-Schmeling 2nd fight

4. Joe Louis-Schmeling 1st fight

5. Louis-Galento

6. Buddy Baer-Doyle

7. Dempsey-Tunney— 2nd fight

8. Dempsey-Gibbons

9. Dempsey-Carpentier

10. Benny Leonard-Lou Tendler

11. Carnera-Schaaf

12. Paulino-Wills

13. Dempsey-Firpo

14. Dempsey-Sharkey

15. Joe Louis-Levinsky

16. Dempsey-Tunney— 1st fight

17. Schmeling-Sharkey

18. Schmeling-Mickey Walker

19. Ross-Petrolle

20. Kid Chocolate-Battalino

21. Tunney-Carpentier

8 MM. each fight app. 50 ft., $1.75
16 MM. each fight app. 100 ft., $3.50

FAMOUS FIGHT FEATURES

FEATURE No. 1

Baer-Doyle * Leonard-Tendler

Sharkey-Maloney • Schmeling-Walher

^^GOLDEN WEST”

Brawling, lusty pioneer days— the courageous,
reckless men and women who laid the founda-
tions for our present-day United States— brought
to your home in this film. See:

Navajo Indians warn ofif the first prospectors.
Gold Miners feverishly searching for fortune.
Dance Halls in a never-ending round of gayety.

The Stagecoach, a piauresque but highly un-
comfortable "railroad”.

Ghost Town. Primitive mining methods soon
exhaust claims— bring desolate ruin.

Civilization Comes. Modern mining methods
revive boom days. Navajo Indians get "store
clothes” at last!

8 MM.

SHORT- app. 50 ft., $1.75 • FEATURE-app.180 ft.,$5.50
16 MM.

SH0RT-app.100ft.$2.75 • FEATURE-app.360ft.$9.75
SOUND -app. 350 ft $17.50

“ON THE TRAIL”

An Official Film '‘Sportbeam"

The awe-inspiring Rocky Mountains in all their
eternal grandeur.

Lije on a Dude Ranch. Effete Easterners come
in contact with Nature-In-The-Raw.

Mountain Lion Hunt. Tracking down the savage
King of the Beasts in his native haunts.

A Real Western Rodeo. Hard-riding cowboys
in their exciting battle to tame the untamable.

8 MM.

SHORT- app. 50 ft. . .

FEATURE -app. 180 ft. . .

16 MM.

SHORT -app. 100 ft. . .

FEATURE -app. 360 ft. .

SOUND -app. 350 ft. . .

FEATURE No. 2

Carnera-Schaaf * Chocolate-Battalino
Tunney-Carpentier ♦ Dempsey-Tunney 1st
FEATURE No. 3

Dempsey-Sharkey • Ross-Petrolle
Firpo-Brennan • Louis-Levinsky
8 MM. app. 180 ft., $5.50
16 MM. Silent app. 360 ft., $9.75
16 MM. sound-on-film app. 350 U., $17.50

See your dealer
or u rite to

330 West 42nd Street, New York, N. Y.

I'l

: !

PAGE 408

HOME MOVIES FOR SEPTEMBER

Vpr

one

J, ' f-

rwi./

Get the new

G-E

EXPOSURE METER

at good
photo dealers

For thrilling color

. . . better pictures

This summer don’t come hack with
alibis — come bac\ with pictures! Even
the tough ones won’t fool you when
you set your camera by the new
G'E. With correct exposure every
time, you’ll save on film; get thrilb
ing color, sparkling movies and
stills. Advantages you’ll appreciate;

• Quick, one-hand operation

• Unfailing accuracy

• Extra-sensitive incident-light
measurement

• Sharply directional — vital protec-
tion on color shots over sand and
water

• Triple-sealed against moisture

FREE Ask for new booklet, “Tips on Better
Child Pictures.” In it, Ruth A. Nichols, noted
child photographer, gives many helpful sug-
gestions. Get it at your dealer s when you .stop
to see the G-E meter.

GENERAL m ELECTRIC

Color Film Release

Marking the first serious effort to
supply 16mm. sound and color
film releases for home projectors, Rainbow Productions,
Burbank, Calif., announce release of their first produc-
tion, “The Man from

Tascosa,” a western
feature running 800
feet. Featured are such
well known western
stars as Dennis Moore,
Louise Stanley, Ed Cas-
sidy, Jack Rockwell,
Eva McKenzie, L a f e
McKee, and Karl Hack-
ett. Story is from pen
of Stuart N. Lake, au-
thor of “Frontier Mar-

shall,” “Wells Fargo,” and “The Westerner.”

Full color rendition of picturesque outdoor scenes are
said to be exceptionally pleasing with the sound range
reported of good quality. Complete two-reel prints are
available for $180.00. Other color sound-on-film produc-
tions are underway by this producer and will be an-
nounced shortly.

Mansfield Fototints

Concentrated color solutions for
tinting movie film (titles or
scenes), transparencies, and prints — are now available
in six brilliant colors — Royal Purple, Sapphire Blue, Em-
erald Green, Sunlit Yellow, Amber Brown, and Eire Red.
They come packed in handy shaker-top bottles to elimi-
nate the necessity of weighing or measuring. Each bot-
tle will make one gallon of working solution, and retails
at 45c.

Eototints are available from most photo dealers or may
be ordered direct from Mansfield Photo Research Labs.,
701 So. LaSalle St., Chicago, 111.

Ouixet Title Letters

Hamilton Dwight Co., 155 E.
44th St., N. Y. C., are making
available to interested cine amateurs a new booklet illus-
trating, describing, and giving prices of their complete
line of magnetic title letters — the type with small mag-
nets built into them enabling the letters to adhere secure-
ly to metal backgrounds. Booklet will be sent free to
those writing the manufacturer.

Gevaert Films

American made Gevaert Films for
cine cameras will soon be on the mar-
ket as soon as production gets underway at the new
Gevaert factory located at Williamstown, Mass. For-
merly produced in Europe, this popular brand of film has
been a great favorite with many cinefilmers.

Drawing upon a background of half a century of film
manufacture, it is expected that new high standards of
excellence will be attained, Gevaert officials report,
further enhancing the world reputation of their product.

IVew Color Films

Six full-color motion pictures show-
ing our National Parks in all their
grandeur have recently been acquired by Bell & Howell’s
Filmosound Library. They are: “Yellowstone,” “North-
west Mountains” (Glacier and Ranier), “Trip Through
Utah” (Bryce Canyon), “Mount Rushmore National
Monument” (Washington, Lincoln, Jefferson and Theo-
dore Roosevelt sculptured into Black Hills granite) ,
“Colorful California” (Yosemite), “Grand Canyon.”
These 16 mm— silent color movies are available for rental
at $3.00 each, and for sale at $60.00 each.

Craig Cinetints

Newly added to the list of products
made by Craig Movie Supply Co.,

r’-'“7 "G

L.vXLj w

★ Quality

Continued on Page 446

is measured in terms of speec
and latitude to "get" the pictur£
and fine grain for "true" pro
jection quality.

Compare if with any other movit
film at any price. Weigh tbi
facts and you'll see why

★ Values

in themselves are truly outstand
ing — by comparison v/ith an
other film at any price they
mean almost twice as much fun
— dollar for dollar.

And for the price you pay you
don't have to dig so deep
mister, to get

M O V I.Ej,;F I L M. t

★ Versatility

evidences itself in four differen
and distinctive Kin-O-Lux Film
for the finest all-around motioi
picture results.

OUTDOOR: KIN-O-LUX NO. 1 — (Weston
8, Scheiner 18°) 100 ft. $3.00

OUTDOOR: KIN-O-LUX NO. 2 — (Weston
12, Scheiner 20°) 100 ft. $3.50

OUTDOOR AND INDOOR: KIN-O-LUX NO.

3 — (Weston 50 Tungsten 40, Scheiner 26°
Tungsten 24°), 100 ft. $6.00

INDOOR ONLY: KIN-O-LUX NO. 3 GOLD
SEAL — (Weston Tungsten 100°, Scheiner
Tungsten 29° — no outdoor ratings). 100

!t. $6.00

Don't take our word for this. Don't take
your dealer's word. TAKE ONLY YOUR
OWN. Try Kin-O-Lux. Prove to your
own satisfaction you've found the movie
film you want. Reg. U.S. Pot. Off.

KlN-O-LUX. Inc. • 105 WEST 40tti STBEET • NEW YORK CITY

QUcUUncf^e^

This expert portrayal, in sound and color motion pictures, of a 3-day
trip through the Glacier-Waterton International Peace Park gives
tourists a most attractive "preview" of the superb scenic beauty
of this glorious vacationland.

In presenting this film through its passenger traffic offices. Great
Northern Railway uses Da-Lite Screens exclusively. Mr. O. J.
McGillis, Advertising Manager, writes . , . "We have always used
Da-Lite Screens for showing our color films, for we find the DA-LITE
GLASS-BEADED SCREEN IS 'TOPS' for Kodachrome projection. It
brings out the full brilliance and true colors of color film as no other
surface can. We use on 8 ft. x 10 ft. screen and a number of 52"x72"
Challengers. Because there is considerable amount of traveling in
showing our films throughout the country, we greatly appreciate
the ease and convenience with which Challenger Screens are
handled in transit. We use Da-Lite Screens exclusively."

lU DA-LITE

GLASS-BEADED

SCREEN

TOPS

FOR KODACHROME PROJECTION

O. J. McGILLIS

GREAT NORTHERN RAILWAY

taS

Aolu 44Ajejd in |

Q^ieai ao^Ufetui^

coio^ moo4j& IN ALL THE WORLD"

(Reg. U. S. Pat. Off.)

is the only screen that can be adjusted in height
merely by releasing a spring latch and raising exten-
sion support. No separate adjustments of the case.
The Challenger is also the only screen with square
tubing in tripod and extension support to hold the
screen rigid and keep it perfectly aligned. 12 sizes
from 30"x40" to 70 " x 94 ". Seven of the larger
sizes were recently reduced in price.

Your home movies and stills also deserve projection on a
Da-Lite Screen . . . the result of 32 years of leadership in screen man-
ufacture. There are Da-Lite models for every projection requirement
including box type table models, tripod screens, and roller-type
hanging screens. See them at your dealers today. Write for literature!

DA-LITE SCREEN COMPANY, Inc.

DEPT. 9HM 2723 NO. CRAWFORD AYE.. CHICAGO, ILLINOIS

M-O-T-I-O-N Picture

For outdoor use, as well as for
much indoor work, many ama-
teur movie enthusiasts have found
that fine results are obtained more
easily with the help of Agfa Hypan
Reversible Film.

Its panchromatic emulsion gives you...

1. High speed with wide latitude.

2. Fineness of grain.

3. Clear, sharp results.

4. Gem-like brilliance in projection.

For 16mm cameras, Hypan is supplied
in 100 ft. rolls at $6.00; in 50 ft. rolls
at $3.25. Twin-Eight Hypan, for all
double-8 cameras, is only $2.25 for
25 ft. rolls (double width). These
prices include processing and return
postage. Agfa Ansco, Binghamton,
New York.

Agfa

8mm & 16mm HYPAN
REVERSIBLE FILM

MADE IN U. S. A.

• Harry Lubcke, James Fly, and Lewis A. Weiss — directors of Don • Another view of movie telecasting apparatus showing close hook-

Lee Broadcasting System — inspect newly installed equipment for up of projector with television camera. Pictures are projected

televising 16mm movies in W6XAO studios. directly into camera.

lELEVISIOfl LecLm

amLitioud cineilimerd .

Program requirements
offer opportunities to
film for profit

o W6XAO staff pho- By CURTIS RANDALL

tographer filming re-
cent oilwell fire near Photos by Mark Finley

Los Angeles. Films were
rush-processed by East-
man laboratories and
put on the air the fol-
lowing morning. Events
like this make excellent
television material.

^ OW that commercial television has been
given the official “go ahead” signal, motion pic-
tures loom stronger than ever as an important
source of telecasting material. And because of

low cost, portability of pro-
d Li c t i o n equipment, and
other obvious reasons,
16mm. film and in some
cases, 8mm., will make up
the bulk of motion picture
material of future televi-

sion programs.

This does not mean, of
course, that all televised
programs will consist of
projected motion pictures.
Spot news telecasts by tele-
vision cameras in the field
as well as regular studio
programs will make up a
large part of audio-visual
air shows. It is where
commercial sponsors are
concerned that motion pic-
"Anres as telecasting mate-
rial become important.

Imagine, if you can, the
time and expense involved
in rehearsing a playlet for
television. Days, some-

times weeks, are consumed in coaching players, j
memorizing dialog, etc. Then the show goes on
the air and is off again in the space of thirty min- ;
utes or less. All that preparation for a single
performance — all of which is far more compli-
cated than broadcasting the airshows we hear
today where the cast, gathered around the micro-
phone, read their lines from prepared scripts.
Only the biggest advertisers can afford such tele-
vision programs.

Motion pictures are still America’s chief source
of entertainment and whether movies are shown
in theatres, in the home, or by television, they’ll
always gain an audience. The commercial spon-
sor with limited advertising budget has been the
first to use motion pictures for television program
material. And this opens up a wide range of :
possibilities extending all the way from short
comedy skits and playlets, to news events or films
depicting the sponsor’s product, services, or pic-
turing factory operations. ;

All this, of course, can be extremely interesting
to the advanced amateur usually on the alert to
turn his movie-making hobby occasionally into
cash. Oddly, television opens distinct opportuni-
ties to amateur cinematographers that can never
be completely absorbed by commercial film pro-
ducers. Many serious filmers have attempted to
launch into the commercial field of business or ed-.
ucational film production, only to find the profes-
sional, with better and more extensive equipment,
getting the contract.

But in the field of movies-for-television, the am-j
ateur gets a break. First in importance in filmed-i
for-television movies are pictures of the news-
reel type — sporting events, fires and catastrophes,
and other interesting events which the television
camera can not always be on hand to pick up.:
Films of this nature already are finding ready
sponsors. Invariably the active cinefilmer will
be on hand capturing such events with his cam-:
era long before the commercial photographei
gets wind of the event and can get to the scene
In a sense, this type of television consists in many
instances of photographic “scoops.”

In Hollywood, one filmer is already set to pro-
vide commercial sponsors with a television news
reel. His automobile, completely outfitted as \
camera car with reinforced roof and fittings t<
take a tripod, is ready day and night to speed t(
a fire, wreck, parade or other interesting event
Special arrangements made with news reporter:
and the police department enable him to be noti

41^ I

• Don Lee, president of
D.L.B.S., inspects cam-
era that takes projected
movies, sends them out
over the ether. In re-
cording movie pro-
grams, lens of camera
is removed and projec-
tor shoots pictures di-
rectly on the big cath-
ode tube.

?d within a few minutes after an important news
'^ent breaks.

Some idea of the value W6XA0, the new Don
ee television station in Hollywood, places on
ovies for television programs may be gained
I'om the fact extensive 16mm. filming equipment
! maintained at the studio at all times for the
Be of its photographic staff in shooting special
j/ents for the station’s telecasts.

As yet television studios do not maintain large
J|Umbers of television cameras in the field. More-
|ver, night events are not particularly adaptable
1) pickup by these cameras. So, shooting night
tuff with a 16mm. movie camera is the alterna-
te. The films, speedily processed through spe-
(jial arrangements with Eastman or Agfa labora-

E pries, are ready for telecasting within a few
fours. Recently, an oil well fire broke out at
L. ight in a field not far from Los Angeles. W6XAO
liispatched one of its staff to the scene who filmed
fjhe conflagration, rushed the films to Eastman’s
friollywood laboratory for special rush processing,
I'lnd had the films on the air early the next day,

Ijtringing the event vividly before the several hun-
jired owners of television sets in that area.

I Some of you may reason that such events do
not happen frequently enough to provide suffi-
cient material for a standard telecast program.
silC^erhaps not. But other interesting events occur
P*very day in every large city where television stu-
ppios exist, and cinefilmers with a nc.se for news
I'.vill have little difficulty framing interesting news
ifjiontinuities and then going out and getting the
Stories on film.

\ Extending, perhaps, the most encouragement
t|':o amateur cinefilmers is Harry R. Lubcke, Di-
ijrector of Television, Don Lee Broadcasting Sys-
tem— the man who developed and now is in

! charge of the highest telecasting studio in the
^^mrld, atop Mount Lee overlooking Hollywood.
Lubcke has used movies extensively during the
past ten years that Don Lee’s W6XAO has been
mn the air with television programs. During this
iperiod, this station has televised more than 6,000
5 program hours using in excess of eleven million
jfeet of motion picture film.

I Through all those years of experiment and per-
jfecting of television broadcast, certain proce-
j'dures have been found “right” for best results on
the teleceiver screen. And amateur cinefilmers
[interested in shooting movies for television can
(profit from the experiences of Lubcke’s staff
I; whose observations during experimental years
I have led to establishment of certain definite rules
for successful television-cinematography.

I According to director Lubcke, motion pictures
intended for broadcast over television require
'Careful photography for best teleceiver results.
None of the established rules cf cinematography
' are violated. For best results pictures should be
filmed at 24 frames per second. Illumination,
composition, contrast and exposure as required
for clear pictorial definition are to be used. In

||)ME MOVIES FOR SEPTEMBER

• First specially built television studio in the
United States and probably the highest.
Erected atop Mt. Lee overlooking Holly-
wood, station W6XAO will have a greater
broadcast range than most telecasting sta-
tions. Motion pictures are an important
part of WbXAO's televis ion programs.

current theatrical motion picture photography
extremes in lighting and ether factors are prac-
ticed for dramatic effect. Dark, low key lighting,
for example, is used to produce a depressing audi-
ence reaction to tragic sequences. Such practices
may be employed to a limited degree in the tele-
vision technique, but they must be restricted, or
the result on the receiver screen becomes mean-
ingless.

It is most important to carry detail in the half-
tones, according to Lubcke. The object of prin-
ciple interest must thus be portrayed. For in-
stance, the outline of a man dressed in a black
tuxedo would be lost against a dark background
drape in the image picked up by the television re-

• Continued on Page 436

415

HOME MOVIES FOR SEPTEMBEI

^J^ow to ^iit

m u mouie

til

wunin a

A proven technique
that will give near-
professional results

• Fig I shows arrange-
ment of equipment for
filming a projected mo-
tion picture by single
frame photography. Fig.
2 shows method of
masking center of 2" x
2" slide as a device for
holding back unwanted
illumincxtion in picture
area.

Fig. 2

ANY a movie amateur has wanted at one
time or another to picture “a movie within a
movie” — that is, to make a scene showing a mo-
tion picture actually moving upon a screen.

Hollywood would accomplish this effect through
use of optical printers. However, here is a method
by which the amateur can get similar results
without the need of equipment beyond his means.

The sequence to be filmed might run something
like this : The first shot shows a man setting up
the projectoi’ on a table; the next shows his as-
sistant setting up the screen; and a cut back
shows the man threading the projector. Shortly
thereafter comes a closeup of a hand pushing the
light button, and then a very underexposed
shot of the man standing by the projector as
it is running. Such a shot is made extra ef-
fective when one photoflood is placed at the
man’s feet casting light upon him.

The following-shot, of course, would be the
title appearing on the screen. The proce-
dure for making this shot was described on
pages 343-4 of July Home Movies.

To make titles appear on ihe screen is not
difficult, but to get actual motion on the
screen, a different set-up is required. When

Fig. I

making the shot of the assistant se^
ting up the screen, take a picture witr*
a still camera of the screen set up, tak;
ing in some of the set surrounding an||
beyond the screen. This picture shoulj
be made from the same point that th
movie was taken. From the still neg
ative, have an enlargement mad^
either 8x10 inches or larger.

The back of the enlargement shoul
be covered with an opaque substanct’
like black paper. Next, the scree:
area in the photo is cut out, leavin
only the frame and adjacent area
the scene. In back of this opening ca
now be placed titles, pictures, or any
thing the amateur desires to appear as being acij
ually projected on the screen. In such cases th
photo enlargement must be quite dark to conve
the illusion of the darkened room when pictur
is projected. There should be no movement wit
titles or pictures so placed, except some pictur
could be moved slowly from one side to anoth
to give the illusion of a panorama shot. (In sucp,
cases make sure no animate objects are in th||
picture.)

Where actual motion is wanted in the project^:
picture, it can be filmed by setting up additionj|
equipment and filming the scene in stop motion-;L
that is, shooting the projected movie one framl^j
at a time. The reason this is necessary is b<*^
cause with amateur cine equipment, it is difficu
and often impossible to synchronize the shutte:a
action of both camera and projector, and to fih|t
a projected movie with any ordinary cine camentr
would result in annoying flicker in the projecte
image if not the complete blacking out of t
image at intervals in a definite cycle.

The arrangement of equipment necessary
filming our scene is shown in Fig. 1. The pho
enlargement is set up in an easel with a panel
opal or ground glass placed behind it. Back
this, at a distance of about 12 inches, is placed tl
film projector, and in front of the whole set-u
the camera.

Correct lighting and exposure are the next tv
problems. With fast film in the camera and
fast lens, the usual projection bulb will pro
much brighter than necessary. Also, where tl
high wattage bulb is used, the projector safe
screen must operate for single frame projectic

• Continued on Page 4

Pacific Sunset is title of fine picture
on opposite page from the camera
of A. T. & S. F. Ry. Company's pho-
tographer Padilla. Scenes like this
can be filmed with a cine camera,
too, by waiting for right cloud condi-
tions and using filter. Try It as a
background for a main title.

volved a player throwing a baseball, it is obvioii
that a ten-second shot would more than cove:
the action.

As a general rule, a shot in which no actio .
occurs — usually referred to as a “static” shot-
can be left on the screen longer than the averag
action shot, for in the latter, after the action ha:
taken place in the scene, the shot is finished. 1
should be cut abruptly at that point.

Look at the picture of the tennis players at th
top of this page. A shot like this could easily ru
ten seconds. But a closeup of either of the plaj.
ers in action should run but a few seconds — prob
ably not more than four, depending upon th
action.

On the other hand, at least ten seconds woul
be required for the pastoral scene next to it. A
audience would want ample time to study th
beauty of the landscape 'wdth the grazing shee
moving slowly through it. And for closeups C:
this same subject, because of the relatively slow
er action of the sheep, a closeup of one or moi
of them should run longer than the action clos(
up of the tennis player.

Where the subject is unusually interestnig, oi
audience is entitled to all the footage we can gi^
it. A scene of this type would be like that of tl
President, pictured below, passing in review c
parade. Similarly, closeups of bathing beautie
important personages, or unusual happenings ca
run longer than the conventional continuity seen ;
The wise filmer, however, will break up his pi
ture of such subjects into a variety of angle sho
which not only relieve monotony but add intere,
through interesting details revealed by changii
camera angles.

The greatest single-shot footage perhaps is d
voted to panoramas, and this is as it should b
provided, of course, the pan shot is proper
made. The pan action should be slow and shou
finish with the camera centered on the main poii
of interest. In other words, the panning shou
lead the audience gradually to the most importai
or picturesque point in the panorama. Shots lil
these often run as long as fifteen seconds.

As a rule, an action shot should last just t
long as the important action continues in tl
scene, and should be cut promptly as the acti(
ceases. Proper cutting of each scene can 1,

• Continued on Page 4

Ross M-irfden

^.J^ow ic

ona

Id a

SHOT

• Above, left: A shot
like this requires more
time than would a close-
up of one of the players
in action because
there's more detail to
be taken in by the eye.
Above, right: Any audi-
ence would object to a
tour or five second flash
shot of a beautiful pas-
toral scene like this. Ten
seconds or more should
be given such scenes.
Below: Opportunities for
filming such important
personages as the Pres-
ident do not come of-
ten, so extra length in
a shot like this is never
objectionable.

HAT is the correct length for a movie shot ?”
is an oft-asked question of beginning movie ama-
teurs, and too frequently the subject is dismissed
with the advice, “Eight or ten seconds is about
right.” Actually there is no established length
for a movie “shot” for the reason that a “shot”
covers a lot of territory. The number of seconds
you hold your finger on the camera starting but-
ton, however, should be determined by the subject
being filmed.

If we were to ask how long a scene of a moun-
tain landscape should run, ten seconds would be
about right. But where the shot in question in-

G. W . Cushman

4mE movies for SEPTEMBER

til

OT very often do rare filming opportunities
ke that which inspired “Through the Window
ane” occur, and when they do, few movie ama-
mrs are lucky enough to be around with their
ameras. A pair of robins were “blessed event-
ig” on the window sill of a Cleveland, Ohio, resi-
ence. Unannounced by any Winchell of the bird
ealm, news of the bird-couple’s anticipated event
roke when occupants of the house noticed the
iobins bringing grass, twigs, and bits of string to
n upper story window sill and began fashioning

nest. Soon their industry became the talk of
^ihe neighborhood and the news ultimately reached
jffhe ears of Mrs. Warner Seely, a neighbor with a
ine camera.

Possessing the stuff of which all good movie
.mateurs are made, Mrs. Seely called upon her
jijieighbor, surveyed the scene of the nest building
iimd secured permission of Mr. and Mrs. John
^Strupe to have free access to their home for the
'purpose of filming the activities of the birds from
building of the nest to hatching and rearing the
Ipirds. After many months of arduous and pa-
'^'ient filming, the 400 foot 16mm. Kodachrome
picture, “Through the Window Pane” resulted.
'The editors of Home Movies are unanimous in
electing this picture as the Movie of the Month.

Not only has this picture been exceptionally
f.vell filmed, but more than ordinary effort went
nto its editing and titling and it stands as an
excellent example of what a good amateur movie
should be. There are the fine titles in verse which
heighten interest in the picture — no ordinary ef-
?fort. Most of the shots had to be made with
Icamera hand held because of the unusually tight
Iquarters that afforded the only vantage point for
^filming the nest. “I certainly would have wel-
comed a tripod,” Mrs. Seely explained, “if only as
a means of resting my arms during the long vigils

• Continued on Page

• Pictured here are enlargements of frames from
the 16mm. Kodachrome picture, "Through the
Window Pane." Interested amateurs will note fhe
neat titling, and the manner in which this entire
picture was filmed in vivid clo^eups. Highlights
are the shots of parent bird tugging at worm on
lawn and the final scene of the Vacancy sign
over the abandoned nest.

THROUGH THE

But could the camera catch
Just what we saw
At hall past Four-
Thc second blue ego hatch?

419

HOME MOVIES FOR SEPTEMBER

’I

era seemed but a moment by comparison.
And by comparison, that ten-minute ex-
posure seems long when one thinks of the ,
split-second exposures possible today.

The still picture was the marvel of that
era immediately following photography’s i
discovery. But man soon began to think
of photography in terms of pictures that
moved. At first such an invention was i
considered as remote as flying to the
moon. Yet, some reasoned, wouldn’t it ;
be wonderful — a picture that would show ^
subjects in motion: men walking, birds
flying, clouds in motion, water rippling? i
Eventually, of course, motion picture ;
photography was successfully developed. '
It required a roll of film, a darkened
room and a projection machine. And pictures :
in motion resulted — of men walking, birds flying,
clouds moving, and water rippling. Many artists :
in still photography saw a new medium of
expression in pictures that moved, and motion
has remained to this day the dominating force ,
behind this phase of photography. It is motion ;
— movement on the screen — that makes a true |
“movie.”

We frequently see the result of one having used |
a movie camera for recording still pictures — inan- j
imate scenes and objects. Often the movie ama- !
teur forgets that in his hands is a tool created i
especially for making motion pictures. Such cine '
enthusiasts probably owned still cameras at one
time and find it hard to forget the routine that |
marked the days when they cautioned their sub- y
jects, “Hold still, now, and don’t move! Look j
this way — now smile!” The technique required in
filming movies is quite different. In fact, quite I
the opposite instructions are usually given our j
movie subjects — “All right, everybody! Let’s have i
some action. This is a movie, you know !” '

Audiences today have seen movies before. They !
know what the motion picture camera is capable ;
of doing and the magic of projection has long
since worn off. They don’t want the magic of
the invention. They want movement, action, '
something happening, and they are entitled to it. i
Hundreds of feet of cine film are exposed every h

• Continued on Page 443 ; '

• Pictorial effect was heightened and
action injected into this scenic shot by
inclusion of rider and horse in compo-
sition.

V^on’lLave tL ^IllOVt

• When picturing a
scenic vista, put life in-
to the composition by
including live subjects
in the scene as was
done in pictures below.
And be sure to have
them move about nat-
urally while your cam-
era records the scene!

uouf mouied . . . .

Just a hundred years ago photography
was invented. It was considered a most wonder-
ful invention even then. By posing only ten
minutes before a camera in strong sunlight, an
excellent likeness of one’s self would result. To
those accustomed to sitting hours before a por-
trait painter, the ten-minute wait before the cam-

lOME MOVIES FOR SEPTEMBER

[VlfWS amateur iiim reuiewd . . .

! a

I iiGAIN we’d like to remind that all ama-

S*teurs, whether subscribers to Home Movies or
pot, are invited to submit their films to the editors
for review and helpful criticism. Unless other-
i, wise requested, reviews of some of the films which
Jwe believe would benefit other amateurs will be
published each month.

Reviewed films will be rated one, two, three,
Hand four stars, and films qualifying- for two or
|more stars will receive, free, an animated leader
“indicative of such award. Detailed reviews, with
suggestions for improvement — if any — will be
mailed to amateurs submitting their films.

Exceptional films qualifying for the distinction
:of the “Movie of the Month’’ will be treated in
'detail in a feature length article in a following
j issue of Home Movies. In addition, a certificate
ji evidencing the award of “Movie of the Month’’
land a special animated “Movie of the Month’’
leader will be returned with such films after re-
view.

When submitting films for review and analy-
■ sis, please advise make of camera, speed of lens,
whether or not tripod was used, or if you used fil-
ters, exposure meter, or other accessories. Re-
views selected for publication this month follow :

"WESTERN DAYS AND NIGHTS" ★★★

AGO Ft. 8 mm. — By W. H.

Continuity: This is the second vacation picture
of this filmer’s we have been privileged to review.
Each year he has a different angle for his con-
tinuity. Last year he threaded a yarn about
a hitch hiker into his vacation shots and a pleas-
ing vacation continuity resulted.

“Western Days and Nights’’ was originally

shot as a straight travel picture; that is, there
were no plot or gag shots planned or made. The
continuity was put into the picture after the filmer
returned home and had opportunity to size up the
result of his summer’s shooting. It was then he
shot the opening sequence and the tag sequence
which closes the picture.

This picture opens with scenes in black and
white that gives the filmer and his family oppor-
tunity to relate the story of their travels. The
first scene shows a woman reading the society
column of the newspaper. A closeup shows a
printed announcement of their neighbor’s return
from vacation. The woman calls them up on the
telephone. This results in an invitation from the
neighbor to come over to their
house. After arriving there,
the neighbors begin to talk
about their vacation and even-
tually someone suggests show-
ing the movies of the trip.

The scenes that follow are in
Kodachrome and cover the
many picturesque places vis-
ited. Many closeups of vari-
ous members of the family
are intercut to keep the pic-

• Conti7Ufecl on Page 4 30

• Reproduced above
are enlargements made
from frames of 8mm
picture "Western Days
and Nights" (top row)
and "Life Begins" (bot-
tom row). Below, scene
from "We Went Fish-
ing," 8mm Kodachrome
picture.

421

CifucaticHal tr J^ccutneHtatif

SECTION

W. Bach

SOUim TMCKliA

dcLooi-macle mouied . . .

Sound can be added to silent
films for as little as $65.00

Y ELLIOTT

which may be planned for the later ad-
dition of a sound track. After all, dub-
bing in the sound track commentary is
neither the difficult task nor the in-
surmountable cost that it is often
thought to be.

Let’s assume that the school is plan-
ning a one-reel film in black-and-white,
and that it wants to investigate the
possibility of adding a narrator’s voice
on sound track. Before going further
it must be made plain that we are rul-
ing out any consideration of synchron-
ous sound recording of the sound track
,Bs-being beyond the resources and abil-
ity of the average public school. Also,
we are confining our investigation to
direct 16mm. recording. Amazing pro-
gress has been made in equipment and
technique in the 16mm. recording field
in the last few years, to the point where

By G O D F R E

S OONER or later in school movie
production there is bound to arise the
question of adding sound to the school-
made film. A great many school pro-
duction crews are already using the
public address system to dub in sound,
either using live actors with the micro-
phone or recording narration and ef-
fects on records for playback. Such
methods, as good as they may be, gen-
erally fall short of expectations held for
quality and convenience. Always, re-
gardless of the alternative method em-
ployed to add sound to the school pro-
duction, there is still the ultimate gc^l
of sound-on-film recording.

This discussion is designed to serve
two purposes: (1) to give specific in-
formation on the subject of recording
costs, and (2) perhaps point the way
for that occasional school production

HOME MOVIES FOR SEPTEMBERj i

• E. M. Bernd+'s Auricon equipment pic-
tured at left is now widely used by many '

sound studios specializing in adding sound '

tracks to 16mm silent productions.

only an expert can detect any significant |
difference between direct 16mm. record- 1
ing and a 16mm. reduction from i \
35mm. sound track recording. i

By way of example, let us say thai.
the school is about to produce a one,
reel 16mm. subject, either a public re
lations film or a local teaching film
Either by reason of the type of filn
planned or through desire for increasec;
effectiveness, the school finds it desirJ
able to add sound to its film. Because
of the convenience of use, quite asidij
from a great number of other reasons |
the school believes that it will be justi!
tied in spending the necessary money t(,
put its film in the final form of a sound !
on-film production.

Reaching this point, the first ques-
tion will quite properly be: “What wil,
sound recording cost us ?” During th
past year the writer has had occasioi
to call for estimates on this sort of woiT
from a great number of different re'
cording studios and film laboratories :
and the figures given below are the ap
proximate quotations given him fo
adding narrator’s voice to a sound track
on one reel (390') of 16mm. black-and:
white reversal film, the recording to b
done by the direct 16mm. process, m
total of twelve firms submitted esti
mates for direct 16mm. recording oi
one-reel job, with the following result
as tabulated below :

Studio A $65

Studio B 100

Studio C 100

Studio D 110

Studio E 130

Studio F 150

Studio G 150

Studio H 150

Studio I 200

Studio J 290

Studio K 300

Studio L 470

Under these figures the produce
must supply the studio with the or
reel of 16mm. film, not to exceed 39
feet in length, in its final edited forn
With the film the producer will suppl
a narrator’s script, edited and accui,
ately timed to fit the film. The studi
agrees to record the sound script, fui
nishing the narrator, and to deliver op,

• Continued on Page 4.

422

MOVIES FOR SEPTEMBER

• Much of the value in student filmed
movies lies in research and study given sub-
ject before filming as well as the experiences
encountered in producing the film.

A lONEERS in the field of student-
nade movies continue to encounter op-
position from superiors, older educators,
fjand frequently from fellow-teachers.
“What,” these educators ask, “Is the
purpose of student-made films? What
Jis to be gained through their produc-
’'ftion?” There are two expected an-
^Iswers : either that such pictures are be-
ing made for classroom use or for the
f.!purpose of giving the student experi-
jience in the field of motion picture pro-
[Iduction. In either case, the skeptics
'iclaim, efforts are futile. Such films
lean only be poor, amateur efforts at
I best, and furthermore, few, if any, stu-
[■| dents are planning on entering the pro-
fj ducing field of the motion picture
I industry.

T' Those expressing such views, of
^'1 course, certainly never followed through
hwith a student-producing film unit. It
L is interesting that the same opponents
of student-made films do not criticize
the practice of manual training stu-
dents making their first foot stools or
that of a sewing class student fashion-
ing her first dress. The foot stools will
be far removed in quality from a Grand
Rapids product and the sewing-class
i dress will fall short of the Fifth Ave-

DO UODIDI-

Cleveland Ext. High School

\ Films

nue product. Yet those foot stools will
be used and the sewing-class dresses
will eagerly be worn.

Why, then, we may justly ask, must
the student-made motion picture be
compared with the professionally made
film any more than the manual training
and sewing class products of the stu-
dents be compared with commercially
made articles? The student-made film,
even though somewhat amateurish as
are also other products produced by
students, is nevertheless still usable.
And what about the cooperation and
fellowship gained by the students while
working together on production of the
film? Are these not worthwhile edu-
cational achievements ?

Because a student works on a school
motion picture doesn’t mean he’s des-
tined for Hollywood as soon as he re-
ceives his diploma any more than the

JUSTIFY THE FFFORT?

By GEORGE

cast of the annual class play expect to
land on Broadway as actors and ac-
tresses, the football playei’s expect to
become coaches, or the manual training
students expect to become carpenters.
Making movies is an interesting and
educational activity for the student-
body affording opportunities to develop
cooperation, team work, concentration,
thought and study.

But all this may sound like theory.
How does it work out in actual practice,
you may ask. Most schools active in

the making of motion pictui'es as a
group project I’eport that even if the
film wei’e never used, the experience
gained by students while making it are
worth all the time and effort involved.
Here students meet new responsibili-
ties, find new problems which must be
met and solved.

One great advantage so often over-
looked is that students producing the
film must spend a great amount of time
in studying the subject to be photo-

Continued on Page 441

423

fleu, CLASSROOM %Ls

REVIEW AND EDMMENT DN LATE RELEASES

By Godfrey Elliott

OUR GOVERNMENT (Knowledge Builders),
1 reel, sound. This is a striking and informa-
tive analysis of our constitutional form of
government. After briefly sketching the times
and conditions that made it necessary to call
the Constitutional Convention, the film pro-
ceeds with a judicious mixture of photography
and animated drawing to show how our entire
system of federal government was outlined in
the Constitution.

Early scenes point out the sources from
which our Constitution was drawn: English
traditions, colonial charters, state constitutions
then existant, and the spirit of the times.

The film very clearly illustrates the checks
and balances of the Constitution through sim-
plified analysis of the powers, responsibilities,
and restrictions placed upon each of the three
branches of the federal government: the legis-
lative, the executive, and the judicial. The
closing sequence draws attention to the ne-
cessity for adding the Bill of Rights before the
Constitution could secure ratification in 1789.

Our Government is a superb film for upper
grade, junior and senior high school classes in
civics, government, and American history. Its
clear cut picturization and intelligent com-
mentary will make it a useful tool in building
a deeper appreciation of American democracy.

I WANT A JOB (Forum), 2 reels, sound.

Makes use of the dramatic form to put across
the necessity of making intelligent preparation
before setting out to apply for a job.

George, after finishing high school and
working several years, loses his job through
no fault of his but through reorganization of
his company. His uncle offers him some wise
counsel on the way in which he should go about
seeking re-employment. He has already sought
personal interviews and studied the want ad
sections. His uncle suggests further possibili-
ties in the news columns. There George finds
news of expansion of a company where his ex-

perience might get him a job, provided he uses
the right approach.

His uncle suggests that he ought to be cer-
tain he has something to offer his prospective
employer before he seeks employment; that he
ought to plan what he is going to say and
how he is going to say it in his interview.

The scene in the employment office shows
George and several other job-hunters. The
others provide a means of showing what not
to do in job hunting: carelessness in filling out
the application form, bringing a poor record
of employment, no preparation for the job and
an unwillingness to learn for advanced posi-
tion, lack of social manners, merely asking
for a job at “anything,” etc.

George presents his request for employment
in approved form, paying especial attention
to what he can offer the company. The em-
ployment manager reviews the applications,
and the film closes with his question, “Which
applicant would you hire?”

This film should be shown to every high
school student who is about to go job-hunting.
It will be useful in high school assemblies,
home rooms, guidance classes, business classes,
and a great many other situations. It, of
course, has no usefulness below the employ-
ment age level.

COURTESY COMES TO TOWN (Forum),
2 reels, sound. The Carter family at home one
evening, gets into a friendly argument over
courtesy in life today. Mr. Carter, a newspa-
per publisher, tells his teen-age son and
daughter that the younger generation fail to
appreciate the full meaning of courtesy. The
children, Tom and Betty, disagree. The re-
sult is a challenge from their father to gather
evidence and prepare a newspaper story on
courtesy. As a check on their activities, Mr.
Carter sends out two of his staff reporters to
cover the story from the viewpoint of the older
generation.

Tom and Betty observe several situations,
most of them showing discourtesy, but one of
courtesy. The two staff reporters observe
other situations. Included in all these ex-
amples of situations observed are: school, bus-
iness, at the restaurant, in the theatre, auto-
driving, etc.

On the following day all meet in Mr. Car-
ter’s office, with notes and photographs of the
situations observed. These show that neither
the-Tjider nor the younger generation has any
monopoly on courtesy. The film ends as Mr.
Carter answers one of his reporter’s questions
with a question of his own: “Is courtesy the
final measure of a lady or a gentleman?”

Courtesy Comes to Town will be an excellent
tool for provoking discussions on courtesy

HOME MOVIES FOR SEPTEMBER

when used at the high school level in home j
rooms, business classes, guidance groups, as- j
semblies, and in other groups studying social ji
manners. 1

ZAPOTECAN POTTERS (Gutlohn), 1 reel,
sound. Native life in the southernmost section
of Mexico is the subject of this film; it is in
this section today that the Zapotec Indians still
preserve the finest examples of native pottery
arts to be found in Mexico. i

The film opens with scenes of life in one >|
of the little Zapotecan villages, where life is
easy and pleasant. The day begins as the |
children of one family emerge from their
house to eat breakfast in the open as is their ■
daily custom. One boy of ten starts on his
way to the village school. He stops at the i
village church for his daily prayer, then ar- I
rives at the modern village school to take his :
place with other students.

Back at home the mother, with crude tools i
and agile fingers, creates a beautiful pottery j.
jar. We see her begin with the first crude II
lump of clay, then watch the work of a real !
artisan as the jar takes form.

The boy later takes the jar and other pot- :
tery from the family’s kiln, and walks to the
neighboring town to sell his wares in the pub- i
lie market place. Scenes of the market place ;
show plainly that this is the pottery section
of Mexico. ’

Back at home the boy learns to carry on the ;
trade of his parents, as he first works with
small clay figures of animals. |

Zapotecan Potters will have use in the ele- j
mentary gTades in connection with studies of i
children of other lands; in upper grades and 1}
high school it will assist in the study of native |
arts and people of the western hemisphere. |

MAYALAND TODAY (Gutlohn), 1 reel, ,
sound. This film is an interesting picture of ‘
life today among the descendants of the Mayas j
on the Yucatan peninsula. Opening scenes |
show some of the Mayan ruins, with reference
made to the high degree of civilization per- j
fected on the peninsula before it was overrun
by the Spanish conquistadors.

Present-day scenes show a Mayan Indian i
home, with the life of a typical family of that ,
section. Father and son work at the neigh- |
borhood hacienda, now run largely on a co- |
operative basis. The hacienda is devoted en-
tirely to the cultivation of hennequin, the 1

424

C^ucaticHal It (^ccumcHtatkf

SECTION

• Scenes from "Second Date" and "Graduating Into Society."

REVliWS of sckooLmade films

nllOME MOVIES FOR SEPTEMBER

i|''ucatan cactus plant from which sisal fiber
is obtained.

^ Scenes in the fields and the mill emphasize
I he importance of the hennequin plant to the
‘natives of the Yucatan. The leaves are cut
Sn the fields, hauled to the mill where they
ire crushed to separate the sisal fiber from the
•est of the leaf. From the mill the fibers
ire taken out to the large open-air drying
■acks to be sun-dried. When properly dry the
■ ibers are baled for shipment to modern fac-
; ories to be made into rope, twine, rough fab-
■ic, etc.

Concluding scenes show the Mayan father
ind son twisting sisal fiber into tough cord
)n the primitive machine in their home, just as
fill twine and rope was once made in Yucatan.
I Mayaland Today, with its emphasis upon the
'dsal industry, will make its greatest contribu-
;ion in geography classes of the upper grades
md high school. Its many scenes of life and
activity of the Mayan children will make it
jseful in elementary school social studies
:lasses.

j STRENGTH OF THE HILLS (U. S. Dept.
,of Agric.), 1 reel, sound. Free. The strength
af the hills provides life and happiness for
iimany American people. In the hills, men find
.happiness in hunting, fishing, camping, and
'general recreation in the parks. The hills
.sustain life through the sale of timber, tim-
ber products, and through the timber products
j factories which give employment. The hills
further provide their owners with fence posts,
building materials, etc.

I The greatest menace to this strength of the
hills is fire. Fire not only causes immediate
serious damage, but it damages land and for-
ests for years to come. Years after the fire
woodsmen may cut dow>' a fine looking tree,
< only to discover that it is ruined at the heart
I because of fire damage suffered years ago.

Woodlands must be conserved by constant
j guard against fires, by reforestation, by intelli-
I gent planning for the use of land and timber,
i Strength of the Hills will aid in the study of
; conservation units at the upper grade and high
|b| school levels. In rural areas, especially, will
,| it be a valuable film for showing at community

II meetings.

I ♦ ♦ ♦

• Seventeen new four reel 16mm. sound
educational films comprising the series,
“The Story of Civilization,” have just
been released by M. Minter Culver, New
York film producer. Each film program
is four reels in length having a running
time of about thirty-eight minutes. The
series is not in serial form, each of the
seventeen units being a complete story
in itself.

♦ ♦ ♦

• The U. S. Army is moving fast with
the largest training film program ever
undertaken in this country. One hun-
dred and twenty-five reels on military

I problems are being rushed to comple-
j tion and only a limitation on personnel
j prevents the number from growing lar-
I ger, according to an announcement in
; Film News magazine.

The motion picture unit at present
consists of 14 officers, 38 enlisted men
and 20 civilian employees. Under the
Selective Service Act, recruits with film
experience from Hollywood and New
York are arriving at frequent intervals,
and the staff will probably be tripled
before the peak is reached.

"SECOND DATE" ★★★

200 Ft. 8 mm. — By Bill A. Jones

This is a student made film with a
moral, conceived to show the folly of
alcoholism among high-school students.
The picture, which was well planned,
directed and photographed, opens with
scenes of a student group reading an-
nouncement of school prom, followed by
sequence of shots depicting the prom.

The two principal characters — a boy
and a girl — slip out of the auditorium
during the dance and imbibe in drinks
from a hip flask, become drunk, and are
ordered out of the building by the fac-
ulty when they return intoxicated to
the dance floor.

Following this the couple get into the
boy’s car and drive away. As the boy’s
intoxication increases his caution de-
serts him and it is while speeding along
the highway that a motorcycle officer
sets out in pursuit, causing them to
crash over an embankment in an effort
to elude arrest.

After recovery from their hurts, the
youthful couple are brought before the
judge, lectured, and placed upon pro-
bation. Returning to school, member
of faculty tells them their case has
aroused particular interest among fac-
ulty and students, bringing about a spe-
cial lecture on the effects of alcoholism.
During lecture, the probationers are
shown how lai'ge amounts of alcohol
prevalent in whiskey soon destroys tis-
sues, deteriorates body, etc., and picture
ends with students obviously convinced
that playing with liquor does not pay.

The probationers, fully reformed,
promise never to drink again and thank
faculty members for aiding them.

From an exceptionally good and logi-
cal continuity a fine student-made film
has resulted. Photogi’aphy is generally
good except for one or two over-exposed
and out of focus shots — scenes which
obviously could not be refilmed and had
to be left as they were.

Titling of this picture is well done
but a few more titles would help the
story along especially in the earlier se-
quences.

"GRADUATING INTO SOCIETY" ★★

800 Ft. 16 mm. — By J. A. T.

This film pictures the activities in an
industrial school for girls. It tells the
story of one girl from the time she en-
ters the institution until she is com-
pletely re-habilitated, discharged from
the school, and given employment.

The presentation is clear and very
understandable as it takes the viewer
from the enrollment of a student,
through the routine of daily life in the
school, and shows what efforts are
made to give wayward girls another
chance. The schooling these girls re-
ceive in athletics as well as in kitchen,
bakery, sewing rooms, and farm work
is especially well pictured. Highly com-
mendable is the manner in which this
filmer trained his camera upon essen-
tial details which were many consider-
ing the lengthy footage of this subject.

Editing is one of the strong points of
this film. Scenes do not run too long
nor is the subject matter ever boresome.
There was evidence of some repetition
on scenes especially in the sewing room
sequences. Also, the opening of the
picture could be cut right to the point
where the new student is pictured at
desk being enrolled by matron. The
preceding shots of the arriving car, the
girl entering the building, walking up-
stairs, etc., all could have been elimi-
nated to give a more professional cine-
matic opening to the picture. Also, at
close of picture, there are some shots of
girl waving good-bye as she leaves the
institution. These are anti-climax and
easily might have been eliminated.

Good titling features this picture,
with text well lettered and highly ex-
planatory. The photography is marked
by good exposure, steady camera, and
accurate focus in all shots. While more
frequent change of camera angles
would have helped, it is realized that it
is sometimes impossible to accomplish
multi-angle shooting when filming in-
doors within limited space.

425

PAGE 426

Safeliqht Support

Home processors and others who
work in darkrooms will recognize the
convenience of the darkroom light sup-
port illustrated here. It consists of one
of the old horizontal telephone exten-
sions which were much in use several
years ago. They may be purchased new
from some electrical supply houses or
bought second hand at low cost from
swap shops or second hand stores.

As may be seen, the safelight lamp
socket fits readily into the clamp de-
signed to hold the telephone and very
little mechanical work is necessary. Its
convenience lies in the fact lamp may
be adjusted at various distances de-
pending upon sensitivity of materials
iDeing used in the darkroom, and may
be folded back' out of the way when
lamp is not in use.

— A. R. Bowen.

Exposure Meter Tip

Here is a simple method by which
most electric exposure meters can be
made to read f /stops directly. Place a
piece of clear scotch cellulose tape over
dial of the meter and with a fine pen
and black India ink, mark the f/ stops
on the tape over the proper places on
the meter dial.

Where use of films of various speeds
is frequent, one may make several such
scales — one for each type of film — stor-
ing them on a panel of glass. The
scotch tape may be removed from the
glass and re-applied over the meter dial
at will.

— R. W. Conrad.

REWARD FOR IDEAS!

Ideas not published will be held for future
publication unless they duplicate ideas pre-
viously received. Endeavor also to send along
photos or rough sketches illustrating your sug-
gestions. There is no limit to number of
suggestions you may submit.

Important: When submitting ideas, be sure
to mention whether equipment you use is 8mm
or 16mm, enabling us to promptly forward
awards adaptable to your use.

HOME MOVIES FOR SEPTEMBER

THE EKPERIMEnU

Pocket Titter

Owners of Keystone 8mm. cameras
will be interested in this sturdy pocket
titler which permits shooting titles
when filming afield and enables making
ultra-closeups without need of cumber-
some equipment. The titler may be con-
structed by anyone handy with tools,
and the parts, all of which are shown in
sketch, consist of : a metal rod “A”
about 3/16" in diameter and six inches
in length; metal collar about 1/2" long
with 3/16" hole drilled through center
and drilled and tapped at top and bot-
tom as shown to take title holder and
set screw; title-holder “C”; and shim
plate “D”. This latter should be ex-
actly 1/16" thick. In place between lens
mount and camera case, it causes the

lens to be in sharp focus at a distance
of six inches giving a field 2%"xl3/4,"
— the dimensions of the title card
holder.

By moving the title holder forward
or backward, zoom effects may be
achieved. By loosening set screw and
swinging title holder out of way, ultra-
closeups of ffowers, insects, etc., may
be filmed.

Several methods may be employed to
line up title holder so it will be accur-
ately centered vertical and horizontal
with the film aperture. This may be
done by shooting test strips or by using
a spirit level. When right position is
found, scratch a deep line in the metal
parts to enable lining them up accurate-
ly when titler is again to be used.

— David H. Thomas.

Filter Ease

A handy filter case for the small fil-
ters provided for use with Keystone,
Revere, and Bell & Howell cameras,
may be made from an ordinary snap-
type spectacle case, as illustrated. A

small block of wood should be cut to fit j
snugly within the case. Before mount- f
ing the block within the case, holes are 1
drilled to take the filters. The block is ;
then mounted, securing it in place with
glue. The soft plush lining of lid of >
case protects filters and mounts from
abrasions.

- — Edward B. Denehie.

Editing Aid |

Amateurs who have gazed with ad- /
miration upon elaborate editing boards
with fancy contrivances for holding film ;
strips may rig up a suitable substitute j(
in a few minutes the next time there’s i
editing to be done. ;

Take the lid of a laundry shirt box ii
and several of the cardboard shirt rein- e
forcements. Cut the cardboard into
strips IV2" in width and then cut an,,
equal number into 11" and 15" lengths, jlj
Next slit each cardboard strip, as’
shown, at distances 2" apart, then as-
semble the strips to form a checker- 1 ■
board of compartments the same as is ,
done with separators in egg cartons.

With the cardboard strips assembled, jj 1

1 IliV

1 1 1 1 1 1 1

I'l

-f/i

10'

11/

13/

15'

16'

17/

19^

21/

23?

25"

33'

35^

Acl

place the assembly in the box lid and
number the compartments 1, 2, 3, etc.,
as shown.

, — W»n. E. Turpen.

Cine Trick

Ever had call for a scene where the
hands of a clock were to move rapidly
around the dial ? Here’s a simple method
for rigging up a clock for just such a
shot.

Set the clock about an hour ahead of |
the time you want the hands to indi-
cate at the finish of the shot. Then
wind tightly on the hand set knob, a
sufficient length of friction tape to
bring hands of the clock to the desired

PAGE 427

HOME MOVIES FOR SEPTEMBER

CINE WORKSHOP

Mount clock securely before the cam-
• era, preferably on the edge of a table
i as shown. Then by pulling down on the
' tape, hands of clock will turn smoothly
at a consistent speed as the tape is
I drawn, stopping at the desired point
I when end of tape is reached,
i — W. D. Garloc\.

I Wrinkle-proofer

I After prolonged use, large projection
j screens often sag, causing objectional '
j wrinkles on the surface that prove an-
I noying during projection of pictures.

I To correct this, a simple device may be
I rigged up by any amateur to hold
5 screen taut as shown in illustration.

The gadget consists of a sturdy slat
of wood about IfV' wide and thick,
and long enough to extend about an inch
and a half or two inches beyond each
edge of the screen. At each end of the
slat is fastened a small light weight
spring to which is attached a small
spring paper clip. When the screen is
unrolled, two of these gadgets are
placed in back of the screen, as shown.
The clips grip edge of screen holding
it taut and wrinkle free.

— Arthur R. Mellor.

Lens Shade

An attractive and highly efficient
lens shade may be made from the plas-
tic top of a gin or liquor bottle. Even
though you don’t drink, it is possible to
obtain one or more of these tops from
a friend or a local cocktail bar.

Drill a hole in top of cap slightly
smaller than diameter of lens barrel
and finish to a snug fit with a round
file. A little sandpapering will remove
gloss from inside of the cap as safe-
guard against light reflection.

— George Harvey.

Film Viewer

The film viewer described here is
equivalent to anything on the market
that does not produce images in mo-
tion. In other words, this viewer is not
equipped with shutter. It produces an
enlarged still image 2V2"x3i/j/' which is
projected right side up on a ground

glass screen. The principle of opera-
tion is as follows:

Film is guided across an aperture
which has a light source underneath.
Light transmitted through film goes
through the projector lens where it

tricLd and
dliort cuts contributed

C^inebu^s

strikes mirror A. Mirror A is set at
45 degrees to the incoming light and re-
flects light in a horizontal plane to the
right striking mirror B. Mirror B is
set at 45 degrees to reflect the light in
a horizontal plane directly to the back,
striking mirror C. Mirror C, set at a
60 degree angle, causes the image to be
reflected upward and toward the ob-
server, striking the ground glass screen
and becoming visual. It is necessary to
use three mirrors to shift the image
around so that it will be right side up.

As to the construction, no definite di-
mensions will be given as dimensions
will vary with different projector lenses
and different size films. For the aper-
ture a piece of light gauge sheet metal
is used. A hole just a trifle larger than
one frame of film is cut, as shown. This
metal is fitted over a curved form so
that as the film is drawn over the aper-
ture and under the rollers it will be
held firmly against the aperture main-
taining a definite position for focus.
Underneath the aperture is installed a
32 c. p. automobile headlight globe. For
a power supply an old radio power sup-
ply transformer was used, using the 5
volt supply.

The next step in construction is to
mount the projector lens. A hole is
bored in the mirror platform to support
the upper end of the lens. The bottom

• Continued on Page 447

HOME MO VIE S’

1941 AMATEUR CONTEST
CLOSES SEPTEMBER 3 0th

1LHL nnL LUN 1 Ld i

• Entries limited to 16mm. and 8mm. films.
No. 35mm. reductions eligible. No restric-
tion as to length or subject. You may sub-
mit as many entries as you wish.

c Transportation on entries must be paid
both ways by contestant. Where return
postage is omitted, film will be returned
via express, collect. All entries will be
promptly returned after review by judges.

® Don't wait until final week to submit your
films. Send them in as soon as ready.

They will be reviewed, judged, and
graded and a full report of same filed for
consideration at time of final judgment.
Films should be available for a second re-
view by judges at close of contest if nec-
essary.

All entries should be titled at least to the
extent of a main title. Adequately titled
films improve their standing in the con-
test. Professional or laboratory produced
titles are permissible.

• Be sure to label film reels and containers,
giving your name and address and the
title of your production.

• No entry blanks are necessary. Enclose
data with entry as to camera, lens, and
film used; also, state whether filters, tri-
pod, exposure meter, and any other equip-
ment was used. This information has no
bearing on the judging, but is of interest
to the editors.

Winners!

Through special arrangements with Don Lee Broadcasting Company,
ithe best of the winning films in this year’s Home Movies’ Amateur Contest
iare to be broadcast over television station W6XAO in a special program
dedicated to movie amateurs. Thus, in addition to the Lloyd Bacon Trophy
land the 16 additional awards in the contest, movie amateurs may also gain
prestige certain to follow telecast of their movies.

|| Here, indeed, is something really important to shoot
llor. Telecasting of prize films will bring the work of ama-
iteurs before some of the most important personages in
Hollywood whose home television receivers are constantly
tuned in on station W6XAO. The editors of Home Movies

feel no greater incentive could be off&red the serious movie
amateur to better his picture making than this opportunity
to display his cinematic handiwork in so auspicious a man-
ner before on appreciative audience. Both black-and-white
and color films are acceptable for television.

SEVENTEEN AWARDS

go to the winners in Home Movies' 1941 Annual Amateur Contest this
year! Four separate classifications, plus six achievement divisions,
make this the most attractive contest ever held for movie amateurs.

GRAND PRIZE — lor the Best Picture

The Lloyd Bacon Trophy, sponsored by Lloyd Bacon, Warner Brothers-
First National Pictures director. And in addition, the First Award in
the film's respective division.

Scenario Films

First Award — Dual Turntables.

Second Award — E 1 e c t r i c Exposure
Meter.

Third Award — Tripod.

Family Films

First Award — Dual Turntables.

Second Award — E 1 e c t r i c Exposure
Meter.

Third Award — Tripod.

Documentary Films

First Award — Dual Turntables.

Second Award — E 1 e c t r i c Exposure
Meter.

Third Award — Tripod.

School-Made Films

Award — Handsome engraved trophy.

ACHIEVEMENT AWARDS

Photography — For the best camera work, 8mm. or 16mm. — engraved trophy.

Editing — For best editing of contest picture — engraved trophy.

Titling — For best titling of contest picture — engraved trophy.

Sound — For best sound, musical, or commentary recording for a contest picture
— engraved trophy.

Technical Achievement — For best contribution during year to Experimental Cine
Workshop or best technical accomplishment in producing a contest picture —
engraved trophy.

Club Achievement — For most outstanding accomplishment during year by any
amateur cine club — engraved gavel.

Lloyd Bacon Trophy

sponsors

^onfesf. ' q

entered

PAGE 430

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HOME MOVIES FOR SEPTEMBER

^euiewd amateur ^iim reviews . . .

.euiews

• Continued from Page 421

ture interesting. The piC’
ture closes with another
black and white sequence —
taking up where the open-
ing left off — of the neigh-
boring guests. The wife is
shown reacting highly en-
thusiastic to the movies
while her husband is shown
as having fallen fast asleep!
After the guests leave, the
travelers are shown eager-
ly planning their next
year’s trip.

Editing : The one great
fault with this picture is
the placement of the ex-
planatory sequence in its
entirety at the beginning
of the picture. It should
have been broken up and
spread throughout the pic-
ture. Here the travelers
tell their whole story be-
fore showing it whereas,
the proper technique would
be to open the picture with
the travelers beginning to
relate their adventures,
then cut to the scenes cor-
responding to the verbal
explanations which are
given in the many spoken
titles, and by interjecting
the explanatory titles
throughout the film and
cutting back only occasion-
ally to the husband or wife
talking about the trip.

Titling: Titles were well
executed with lettering and
exposure good and compo-
sition well centered. Main
title was very appealing.
It was composed of a mov-
ing background picturing
a girl and two male com-
panions walking along a
country road with the text
of the title superimposed.
Good use was also made of
signposts along the route
of travel and in National
Parks as means of convey-
ing information to au-
dience.

Photo graghy: Was very
good. As used, the mixing
of black and white and Ko-
dachrome is quite logical as
the black and white se-
quences represent the epi-
sode of the travelers relat-
ing their^rip while the Ko-
dachrome sequences repre-
sent the movies filmed dur-
ing the vacation. Many
shots are commendable for
their composition. Many of

the shots made from a
moving automobile would
have screened steadier if
they had been filmed at 32
frames per second instead
of 16.

Sound: “Donkey Sere-

nade’’ and “Grand Canyon
Suite” are the two records
selected by this filmer to
background h i s picture,
and very appropriate they
are, too.

"LIFE BEGINS" ★★

100 Ft. 8 mm.— By J. M. C.

Continuity : In this pic-
ture an interesting contin-
uity has been worked out
to introduce the birth of a
child. While little footage
is devoted to the child, this
picture serves as the foun-
dation for the child’s movie
biography which we are
sure will follow in ensuing
months and years in regu-
lar filming of sequences as
the child grows up.

The picture opens with a
closeup of a sign : “No
Children Allowed On Ma-
ternity Floor.” A hand en-
ters the scene and under-
scores “Maternity Floor.”
Next are closeups showing
a man’s feet nervously pac-
ing up and down a corri-
dor; closeup of clock show-
ing time, six-thirty; a long
shot showing the man pac-
ing floor of maternity
ward ; cut back to clock
showing time, seven
o’clock, etc. There follows
a series of shots in closeups
that indicate the baby is
being born — shots of the
nurse, the doctor, instru-
ments, etc.

A good piece of business
is the closeup of the can of
ether being held and the
contents being poured os-
tensibly onto the cone over
the patient’s mouth, al-
though at no time is the pa-
tient shown in any of these
scenes. A trick shot de-
picting the hospital whirl-
ing around and around cre-
ates the illusion of the pa-
tient’s reaction to the ether.

Following this is a se-
quence of the nurse an-
nouncing the baby’s birth
to the nervous husband. He
enters the ward, and shots
of the mother and baby fol-

low. Shots of the baby
made at intervals of one
week up to the time she is
two months old complete
the picture. Further scenes
of the growing baby, of
course, will be spliced on
from this point.

Editing: Very commend-
able. Due to good cutting,
the first part of the picture
moves fast, gets its story
across in a hurry. There’s
no excessive footage to any
scene. Notable technique
is that of quick cuts from
shots of feet pacing to
hand snuffing out cigar-
ettes to convey husband’s
increasing nervousness.

Titling : Unusually ap-

propriate is the titling of
this picture. Text was cut
out letters which were pin-
ned by means of small
safety pins to diapers hung
on a clothes line. The
transition from one title to
another was accomplished
by moving the clothes line
to bring another diaper into
view — very professionally
done. Exposure, pho-
tography and centering
good.

Photography : Being
mostly interior shots, pho-
tography of this picture is
consistently good, requir-
ing as it did considerable
lighting in scenes of large
areas. However, main ac-
tion was always kept in
good light. Camera was
reasonably steady except in
some instances when cer-
tain restrictions demanded
a certain amount of shoot-
ing with camera held by
hand. Commendable shots
are closeups showing cigar

TO OUR READERS
We will appreciate calling our
attention to any misleading claim
made by any advertiser in HOME
MOVIES whose product or service
proves unsatisfactory.

Should an article prove other
than advertised, or if a service is
not prompt, immediate notifica-
tion will enable us to enforce upon
the ad vertiser necessity of adjust-
ing his product or service to the
maximum high standard of quality
required by this publication of its
advertisers.

ilbME MOVIES FOR SEPTEMBER

PAGE 431

ibeled “It’s a Girl” being
transferred from one hand
[D another, and the closeup
:f the hand snuffing out
igarettes— both illustrated
■ ere.

I WE WENT FISHING" ★★★

ho Ft. 8 m. — By J. F. D.

• Continuity : Fishing pic-
•j ures frequently seem to
lomplicate themselves in
he assembling at editing
)oard. Few filmers are in-
dined to trim scenes or de-
ete them entirely where
;uch will improve contin-
iity. This fishing picture
s different.

This cine story begins
with a letter inviting an-
other party to go fishing.
Following this are shots
showing tackle and sup-
plies being loaded into au-
tomobile, the car leaving,
and then its arrival at
mountain cabin where it is
'quickly unloaded. After
jjthis, preparation of assort-
[1 ed tackle is shown and then
there’s a brief sequence
ijshowing a woman baiting a
I hook with a worm — a good
(touch.

k| Continuing are shots
)! showing the party setting
Uout on the lake by motor-
I boat, catching and landing
I fish, then returning home,
p cooking, eating, and then a
Li friendly game of cards
0 afterward.

0 All these scenes are in
logical order. The story
opens with the fishing party

■ I going fishing, and we are
.shown them fishing, get-
ting results, and then eat-
' ing it — which is the simple
and natural way it should
have been pictured. There
j is no repetition of action.

1 Editing: Scenes were cut
I to the limit. There are

many large closeups, af-
, fording opportunity to
I study those pictured in the
; story. Frequent use is
made of the technique of
placing a person within a
scene as an observer of
some interesting object or
panorama.

Titling: Titles were su-
perimposed over a scenic
background, evidently pic-
ture postcards. Titles were
well worded and centered
and did much to enhance
continuity.

Photography : Good close-
ups, nice composition, and
consistent exposure mark
this as a well photographed
home movie.

DeLuxc Automatic
Collapsible Model
Sizes 22" x 30" to 70" x 70'

RAVEN FABRICS

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Witelite
Crystal Beaded
White Opaque
Polaroid Silver
Silvertone

RAVEN MOUNTINGS

DeLuxe Automatic Collapsible
22" X 30" to 70" X 70"
Standard Tripod

30" X 40" to 52" X 72"
Duplex

22" x 30" to 70" X 70"
Table

18" X 24" to 36" X 48"
Gear Operated Tripod
45" X 60" to 70" X 70"
Metal Case Hanging

22" X 30" to 70" X 70"
Spring Roller and Back Board
70" X 70" to 12" X 12"
Wood Roller and Batten
48" X 48" to 70" X 70"
Thruvision

22" X 30" to 45" X 60"

When it comes to movies, Hollywood stand-
ards are the world’s criterion. And when it
comes to movie screens, Raven is the home-
movie-makers standard. For RAVEN HAF-
TONE and RAVEN WITEEITE quality and
values are reflected by the fact that many of
the country’s leading theatres, as well as thou-
sands of amateurs, use the Raven Screen best
suited for their purposes. Six
different fabrics in eight types of
mountings give you a wide vari-
ety to choose from. Fine stores
across the nation feature Raven
Screens.

Duplex Model

Sizes 22" X 30" to 70" x 70".
(Phantom shows mast exten/lcd for
square screen,)

Standard Tripod Model
Sizes 30" X 40" to 52" x 72".
(Solid view shows screen s greatest
elevation — dotted lines show screen'$
lowest elevation.)

RAVEN SCREEN

314-16 EAST 35th STREET

CORPORATION

NEW YORK CITY

PAG! 432

HOME MOVIES FOR SEPTEMBER

""TRIPOD

FOR BIG CAMERAS

Shoot with a big movie camera or
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CHECK THESE 4 FEATURES

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2. 22%" telescoped. 4. Wt. 4 lbs.

Booklet, "For Better Picture
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Write Dept. H.M. 9.

""QUICK-SET’*

Manufactured by

WHITEHALL SPECIALTY COMPANY

1739 Diversey Pkwy., Chicago, III.

• Continued from Page 419

I sat upon a small stool a
few feet from the nest.”

The picture is introduced
with a simple printed title
and this is followed by the
first scene, that of the com-
pleted nest in which rested
three blue eggs. Following
this is a sequence of shots
showing mamma robin set-
tling down on the nest,
papa robin bringing her
food and then scenes show-
ing papa and mamma robin
changing shifts — taking
turnabout on the nest.
While one bird sat upon the
eggs, the mate remained
alert nearby for possible
intruders.

There are many shots
showing the birds on and
off the nest, all in vivid
closeups, and some without
seeing the picture might
criticize the repetition as
unnecessary. But these
shots are so interesting,
you feel there is still not
enough footage devoted to
enable one to adequately
study the birds at such
close range. Nevertheless,
Mrs. Seeley has intercut
shots of the birds bathing
in a nearby bird bath,
searching for food, etc., be-
tween these closeups to
give just the necessary re-
lief.

Soon the first baby bird
is hatched and the proud
parents busy themselves
bringing worms to fatten
the youngster. Later that
day, a second bird is born,
and closeups show the ba-
bies, mouths everlastingly
open, crying out for food.
A title at this point states
that the observers never
did learn what became of
the third egg. It failed to
hatch and simply disap-
peared from the nest.

Interesting was the way
the parent birds got rid of
the shells of hatched eggs.
A portion was eaten and
the remainder carried
away from the nest. An-
other interesting note
worth mentioning at this
point is — the diary which
Mrs. Seely wrote as she sat
observing the birds and
which remains a complete
record of the birds’ activi-
ties from building of nest

Wontk . . .

to time matured birds leave
the nest. Concerning the
disposal of egg shell, Mrs.
Seely wrote in her diary :

“Monday, April 24. Lots
of excitement! Patsy dis-
covered a bird had hatched
before 7 a. m. Shots were
made. Weather warmer.
Trees budding. Soon moth-
er returned to nest, then
the daddy. Both touch
beaks, and mamma bird
moves over revealing the
baby. At ten o’clock,
cracks occur in second egg.
At 4:35 p. m., second egg
hatched. Egg broke into
two pieces and we saw
baby bird actually emerge!
When entirely free, mother
bird returned to nest and
ate half the shell. Then she
took remainder of shell in
her beak and flew away.
We later observed that she
had flown it to lot next
door and trampled it into
the ground.”

There follow many
shots in vivid closeup of
the baby birds being fed
and of the parents rustling
for food. Perhaps the
rarest shot of all pictures
one of the parents tugging
with a fat worm on the
lawn, ultimately conquer-
ing it. An enlargement
from one of the frames of
this unusual shot is repro-
duced elsewhere. Another
highlight are the feeding
shots filmed in slow motion.

In due time the two off-
spring grow to maturity
and one by one leave their
parents’ abode to shift for
themselves. We are shown
in an exceptionally fine
closeup, the last bird as he
stretches his wings before
taking off on his departing
flight. A cute ending to
the picture is the closeup
of the vacant nest with a
sign, “Vacancy — Rent
Free,” placed over it.

There is a short anti-cli-
max sequence following
this showing the parent
birds, their rearing chores
behind them, enjoying the
beauty of spring as they
search for grubs and
worms in the branches of
budding trees. While these
are exceptionally pictur-
esque shots, the picture is
very complete without
them. The clever scene of

the “Vacancy” sign over '
the nest properly ends the i
picture. !

It is seldom that a worn-
an produces a home movie
that reaches the realm of
Movie of the Month. But '
when one does, such a pic-
ture invariably displays^
keen cinematic ability. How
many male cinefilmers |
would have filmed this pic-
ture as steadily as did Mrs. I
Seely with camera un- 1
mounted we do not know; <
but here is a rare example ,
that proves good movies ;
can sometimes be quite sat- i
isfactorily filmed without |
benefit of tripod. !

The photography of'
“Through the W i n d o w i,
Pane” is far above the !
average. Exposure is con- ‘
sistently good in spite of
varying light conditions
that occurred throughout \
each of the many days re-
quired for filming. And ,
every scene boasts of
needle sharp focus. t

The titling is one of the I
highlights of the picture i
both from point of compo- j;
sition and arrangement ,
within the picture. All ti- t
ties were poetic in compo- 1
sition and we regret that i
space does not permit re- j
production of the entire |
series — eleven in all — ] I
which would reveal their j
value as a medium for knit-,j^
ting the story together. i;

The equipment used by [:
Mrs. Seely in filming this .j I.
picture consisted of a
16mm. Eastman Magazine j'’
Cine Kodak fitted with an
f/1.9 lens; Kodachrome j
film ; a 21/2" Telephoto !
lens ; and a Universal ex- i
posure meter.

“Through the Window,
Pane” has been exhibited
widely by Mrs. Seely to |
schools, civic groups, and :
Museum audiences. Plans,
are afoot to make several'
dupes of the film so that
this rare document may be
made more generally avail- ^
able to educational groups.

Every citizen is urged to
do his part by buying De- j
fense Savings Bonds and 1 {
Stamps. : I

« m

jOME MOVIES FOR SEPTEMBER

m/, ADVyCED

C^ine^ii^

PAGE 433

mei*d

Ij! animals
■ form the

• Maya ruins of Copan.

Expedition

Prompted by the increas-
■|ing demand of schools, Uni-
jversities and Organized
Latin American groups for
'authentic cine-material on
' Latin America, Victor von
jHagen, well known author
land explorer, will leave tor
iHonduras this fall to com-
Jjplete an ambitious program
of 16mm. film production.

Central America is rich
I in rare cinefilming mate-
1 rial. There are Maya ruins,
primitive Indians, vast in-
'■! dustries like the banana
'J and mahogany, gigantic
I' work-programs such as the
ijl Pan American Highway,
■active volcanos, curious
and insects that
background of
f; t h e s e attractive Central
f!' American States. Von Ha-
^ gen’s long experience in
; these countries and his in-
1 timate knowledge of the
i language, the people and
1 especially the limitations of
the camera in the tropics
promise interesting cine-
footage which he promises
will be finding its way into
the nation’s classrooms be-
fore Spring 1942.

The American explorer
plans to stay in Central
America for over a year,
since he feels that careful
filming cannot be accom-
plished quickly, although
Central America has an ex-
cellent aviation system —
one of the most complete in
the world, affording rapid
transit between most im-
portant points.

Von Hagen plans to pho-
tograph the famous Maya
ruins of Copan where 2000
years ago the American In-
dian built one of the great-

est civilizations the world
has ever known, also to fly
to the Mosquito coast in
the Carribean to photo-
graph the annual log rush
of the thick-trunked ma-
hogany trees on their way
to Pensacola from the
Green Hell of the jungles
of Honduras. Of greatest
interest are Von Hagen’s
plans to make three docu-
mentary films built about
the three divisions in Cen-
tral American life: (1) the
primitive Indian; (2) the
middle-man of the fields ;
(3) the upper classes of
the countries. These films
will give the background so
needed by schools to under-
stand the social and eco-
nomic problems of Central
America.

Also planned are films of
fights between snakes and
iguanas, large tarantulas
enormous tropical insects,
and life among primitive
Indians.

Many interested in Von
Hagen’s third Central
American filming venture
have arranged for him to
make special filmings for
them, an accommodation
which he is in a position to
undertake for those willing
to supply the film or ade-
quate compensation.

It is understood that a
releasing company is being
formed among this filmer’s
Hollywood friends to han-
dle editing, printing and
distribution of prints of
his films which will be
shipped to Hollywood for
processing as quickly as
they are exposed.

Kukan

In the March issue, this
department reported brief-
ly on the thrilling 16mm.
Kodachrome movies filmed
in China by Rey Scott. To-
d a y 16mm. Kodachrome
dupes of these pictures are
being screened with aid of
high-powered 16mm. arc
projectors in some of the
largest theatres in the
country under the title
“Kukan.” It is the first in-

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LOS ANGELES

1109 E. MADISON ST.
SEATTLE

149 NEW MONTGOMERY STREET.
SAN FRANCISCO

MITTEN’S

TITLE

LETTERS

Best for cine titles because:

• Letters photograph iul! white

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• Permits interesting shadow effects

Unsurpassed for KODACHROME Titles — use white letters with colored
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MITTEN'S DISPLAY LETTERS

Redlands, California

PAGE 434

l*lNTROPUCrORY CARTOON SEQUENCe
.!♦ CHOICE OF “(YOUR NAME) PRODUCTIONS^*
PRESENT"C«*0'OUR COMPANY) PRODUCTIONj^
4 PRESENT" FOR MAIN TITLE
.(♦DELUXE LETTERS, EXCLUSIVE DESIGN
i»15' IGMM, T.S' 8MM COMPLETE
.♦ B'*W, PURPLEHAZ.E OR AAN3ER TINT STCKK
^ COSTS ONLY $1.00 POSTPAID

■ Send uour / -be sure to state
:;-nrdpr todau film Size arxi.

1812 PIEDMONT • CHARLESJON, WEST VA,

PROFESSIONAL JUNIOR

TEilPOD

A PROFESSIONAL TYPE TRIPOD FOR I6MM!
The present importance of 16mm filming de-
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along professional lines. This need is met in
the PROFESSIONAL JUNIOR. Finely finished;
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takes Eastman Special, B d H Filmo, Bolex,
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1600 Broadway New York, N. Y.

stance on record where a
16mm. motion picture has
been screened consistently
in theatres originally de-
signed only for 35mm. film
projection, and the success
with which “Kukan” is be-
ing projected points to the
fact that “big time” theat-
rical exhibition of other
16mm. pictures may follow.
Not infrequently there has
been much speculation on
the possibility that 16mm.
may someday replace 35mm.
as the medium for theatri-
cal motion pictures, and the
successful screening of

*Sound ttacLi

• Continued from Page 422

finished combined print of
sound and picture in the
form of a reversal dupli-
cate.

From this tabulation it
can be seen that the school
has a wide range of choices
available, ranging from
$65 to $470 per reel. No
adequate explanation can
be given for the extreme
variation in price given by
Studio L. The winter has
personally examined sam-
ples of work from Studio A
at $65 per reel, and finds
them entirely acceptable
for average school produc-
tion purposes. There is
every reason to feel that
excellent quality work can
be obtained under $150.

These figures, further-
more, include a narrator’s
fee of $15-$50, depending
upon the studio ; $15 in the
case of Studio A, $25 for
those in the middle bracket,
and $50 for the upper
bracket. This charge can
be eliminated where the
school is able to send its
own qualified narrator to
the studio to make the re-
cording.

Under this system of re-
cording, the producer is
supplied one reversal dupe
print combining picture
and sound. Additional
prints of this sort from
any source will cost ap-
proximately $30 each. If
the producer anticipates
the needTor more than two
or three combined prints,
recording should be done
by the dupe negative meth-
od. This method will raise
the initial costs $25-$50,
but will enable the pro-

HOME MOVIES FOR SEPTEMBER >'

“Kukan” may give the idea
further impetus.

Months ago, some of
Scott’s footage on China
was edited with added nar-
ration and screened for lec-
ture audiences by David
Paige under the title
“Bombing of Chungking.”
The response which fol-
lowed screening of this pic-
ture prompted Scott to
combine all footage into
one feature and make it
available to the nation’s
theatres. The bombing of
Chungking and the result-
ant fire are highlights of
the picture.

or mouies • . .

ducer to secure additional
combined prints at the low-
er price of approximately
$15 each.

If it is known before-
hand that sound will be
added to the school-made
movie, the film should be
shot at 24-frame speed. It
is entirely possible to add
a sound track to a film that
has been shot at 16 frames,
'providing that it does not

have scenes that (1) are j
too short in length, or (2) |
in which action is already 1
fairly rapid. It must be re- i
membered that projection h
at sound speed (24 frames It
per second) is an increase |
of 50 percent over sileni j
speed. If there is any
doubt concerning the possi-
bility of adding sound to a ..
film shot at silent speed,
put the film on a sound pro- U
jector and run it through
several times at sound
speed.

Even though the finished ii
production is 50 feet or 150
feet short of being a full
400-foot reel, there will be
no appreciable decrease in
the recording costs given ■
here. Studio charges and
narrator’s fee will remain .
the same. There will be a
slight decrease in cost for ,
film stock used, but not *
enough to exert any great i
influence on final costs. The '
one-reel charges apply to a
maximum length of 390
feet. If the production |
runs to 700 feet, or even if ;
it is only 575 feet, then the
costs will be based on j*
charges for two reels, or •
approximately double the !
figures given here for one |
reel. '

CINE

QUIZ

Test your skill and cinematic knowledge by mark-
ing correct answers to following questions. Then
turn to page 447 to check your score. If your

average is 80, you’re good

If its only 60 you’re still

good ; and if its less, well-

-try again.

1. To obtain three time magnifi'

4. Home movies are made most

cation with an 8mm. camera

interesting by shooting most

it would be necessary to use

of the scenes in: j

which of the following lenses:

a. Daylight

a. 1 inch

b. Hawaii j

b. l|/2 inch

c. 3 inch

c. Closeups ;

2. Under average light condi'

5. When in doubt about the

tions a cine lens in focusing
mount can he set for “fixed’

emulsion rating of a film '

where would you loo\ for

or universal focus at what

this data?

distances:

a. On the can

a. Infinity

b. On safety leader strip ■;

b. 1 foot

c. In Home Movies maga- ,

c. 2? feet

2,ine

3. Excessive overall reddish
tones in Kodachrome interior

6. The shorter the focal length

shots made under artificial

of a cine lens- —

light are caused from:

a. The wider the area pho-

a. Insufficient light

tographed

b. Use of regular Koda-

b. The greater the depth

chrome without blue

of focus

filter

c. The larger the object

c. Exhausted photo flood

photographed will ap-

bulbs.

pear on the screen

3ME MOVIES FOR SEPTEMBER

PAGE 435

^jnm. and Eight

' Here’s an interestvng
hissive from a cinefilming
' rother in far off India:

j Sirs : I have chosen 8mm,

, ecause it is really the least
xpensive as far as the re-
urring cost in filming ma-
terial is concerned. Having
’•ought my first 8mm ap-
paratus in August 1934, I
' ilways look upon my choice
’Its the most satisfying. It
fiS a strange coincidence
'lhat August is the 8th

Ijnonth of the year and that
That particular year was
1934. I don’t quite remem-
ber whether I had made the
jburchase on the 8th.

According to Burmese
llpradition 8 is always looked
jjijjpon as a lucky number. In
games of cards, 8 is called
,m Burmese gambling slang
i{“luck.” (The actual pro-
inundation is also “luck.”)
ijEighth day in a Burmese
^Calendar is always a Sab-
I'jbath day, and looked upon
! as an auspicious day. On
jja Sabbath day the Burmese
people observe 8 precepts.

; In astronomical science of

i.'the Burmese, there are 8
planets. (Geographically
Burma is divided into 8 di-
I visions. There are 8 noble
! paths by which only one
could attain Nibbana, in
I Buddist religion. (Nib-
j bana is Perpetual Peace. )

( Therefore there is no won-
' der that 8 plays an impor-
tant part in the life of a
Burman.

j “8” also seems to play an
I important part in 8mm
I Cinematography. I can
I give you some strange
I facts about the 8’s in 8mm
technique.

1. The standard lens of
an 8mm camera has 12.5
focal length — (1, 2 and 5
of 12.5 make 8.)

2. The f 3.5 lens is al-
most a standard equipment
of most makes of 8mm ap-
paratus. (3 & 5 of f 3.5
make 8.)

3. The speed of the most
8mm camera shutters is

one thirty-fourths of a sec-
ond. Now 1, 3 & 4 of 1/34
make 8.

4. Hyperfocal distance
for f 2.5 lens (12.5mm
standard focus) is eight
feet.

5. At f 8, when lens is
set at 8 feet, depth of focus
is just a little less than 3.5
feet and infinity. (3 & 5 of
3.5 make 8.)

6. The diameter of the
standard 8mm camera lens
at an aperture of f 8 is
1.52mm (approximately).

1, 5 & 2=8. The diameter
of 38mm lens at diaphragm
opening of f 8 is 4.76mm
(approximately) . 4 + 7 + 6
=17; 1+7=8.

7. Speed of regular pan-
chromatic film is Weston
Daylight 8.

8. A two-inch lens 8 feet
from the subject has a
width of field of 8 inches.

9. A normal 8mm camera
lens at 8” distance covers
an area of approximately,
3.374" x 3.77". 3 + 3 + 7
+ 4=17 or 8, and 3 + 7
+ 7=17 or 8.

10. With a film of Wes-
ton 40 rating at 8 feet dis-
tant from the subject using-
four No. 1 photoflood lamps
the diaphragm opening of
the lens must be f 8 accord-
ing to the data given in
latest issue of a popular
cine magazine.

- — Mg. Hla Aung,

Rangoon, Burma, India.

Processing Kink

Here’s a new angle on an
idea published in the Cine
Workshop recently:

Sirs : Processing trays
such as described by Mr.
Jenkin in HOME MOVIES for
March 1941 (p. 131) may
be made with linoleum —
ordinary floor linoleum — in
place of the “horn fiber”
suggested. I made several
trays of similar design (be-
fore reading Mr. Jenkin’s
ai-ticle) and found linoleum
to be a satisfactory mate-
rial, the traj^s having been
in service for many months.

One advantage is that
soaking in water is not nec- j
essary as with fiber, but the I

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The Graphic has it

Graphic and Graflex cameras
are made by the Pointer Graflex
Corporation.

/^^NCE every so often, the need for real speed arises.

With a speed Graphic you’re all set, for its focal
plane shutter offers 24 shutter speeds up to 1/1000.
But the Graphic has more than speed. The 2J4 x 3)4
Miniature Speed Graphic, for example, with //4.5
Kodak Ektar lens in Supermatic shutter is an excellent,
versatile camera for fine work. It has a ground-glass
back, rising-falling front, bellows extension, and uses
film pack, sheet film, or plates. See it at your dealer’s.

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AT BUDGET PRICES'"

6628 SANTA MONICA BLVD., HOLLYWOOD • 86 THIRD ST., SAN FRANCISCO

PAGE 436

HOME MOVIES FOR SEPTEMBER

A Tip from HOLLYWOOD

for Personal Movie Makers

IN HOLLYWOOD, they know it takes
the finest equipment to make the fin-
est movies. Studio experience has taught
producers, directors, cinematogra-
phers, and stars that the name Be// &
Howe// marks the finest professional
equipment. So, for persona/ movie equip-
ment, it was natural for them to choose

HOWELL

. . . and they found Filmo built to the same
high precision standards . . . built to give
projessiona/ resu/ts wit/} amateur ease.

That’s why most professionals use
Filmo for home movies. Their example,
surely, is a good one for you to follow.

Quality Bulk Movie Film

8mm • 9V2mm • 16mm • 35mm

SUPER PANCHRO R EV E RSAL— Scored
Speed 24-18 — Anti-Halo Backing.

100 ft. 32 ft.
Double 8 . . . $3.60 $1.30

Single 8 . . . 2.00 .80

16 mm 3.25

MICROGRAN PANCHRO R EV E RSAL— Scored
Speed 12-8 — Anti-Halo Backing, Extra Fine Grain
100 ft. 32 ft.
Double 8 . . . $3.30 $1.20

Single 8 . . . 1.85 .70

16 mm. ... 3.15

SUPER CINEPAN PLUS REVERSAL— Not Scored
Speed 64-40 — Non-Halation Base

100 ft. 33 ft.
Double 8 . . . $3.85 $1.45

Single 8 . . . 2.15 .80

16 mm 3.50

SUPER CINEPAN REVERSAL— Not Scored
Speed 24-16 — Non-Halation Base

100 ft. 33 ft.
Double 8 . . . $3.35 $1.25

Single 8 . . . 1.90 .70

16 mm 3.25

CtNECHROME SEMI-ORTHO REVERSAL
Speed 8-2 — Non-Halation Base — Not Scored.

100 ft. 33 ft.
Double 8 . . . $1.75 $ .75

Single 8 . . . 1.15 .50

16 mm 1.45

CINE-KODAK POSITIVE TITLE F I LM-NotScored
100 ft. 33 ft.
Double 8 . . . $1.35 $ .60

Single 8 . . . .90 .40

16 mm 1.00

Clear. Purplehaze, Yellow, Red. Amber.Special Blue.

Also DuPont Lavender. Pink. Light Amber.
Complete New Reversal and Title Instructions Free
with Film Orders. Separately, 25 cents each. Cash,
check or money order for quick service. Deposit
$1.00 returned with C.O.D. orders. Special Deliv-
ery, 15c; air mail $1.00 extra. Overpayments re-
funded or credited. No stamps, please.

CAMERA SPOOLS WITH CANS— Each

Double 8 $ .35 Keystone S^

Univex 20 16 mm., 50

Eastman Double 8 . .40 16 mm.. 10(

EXTRA CANS. Double 8 and Straight
100 ft. and 50 ft. 16 mm. size
Non-Humidor, 400 ft. 15c each; ]
MISCELLANEOUS

FOTO-FADE WIPE-OFF TAPE, per
CINETINTS, 6 Colors and Instruction
DuPONT VISCOSE SPONGES, each

Writ© for Complete NEW Price Lists

. 8 . .

$ .35

ft. . .

.50

ft. . .

.60

8 size

.05

.10

0 for .

1.00

ter . .

$2.50

Fades

1.00

roll .

.60

s . . .

3.00

.35

37-38 .

.15

each .

.30

16 oz.

.15

Lists

W. STUART BUSSEY FILM LAB.

17 E. St. Joseph St. Indianapolis. Ind.

linoleum should be warmed
for easier bending. The
slick (pattern) side is put
on the outside, making
painting unnecessary ; the
inside of the tray is, of
course, given at least two
coats of acid - resisting
paint.

— R. W. Sdchrest,
Washington, D. C.

Souvenir

Here’s an idea that might

profitably be adopted by
other cine clubs:

Gentlemen: When a film
is sent to our club for
screening, we make a sou-
venir recording right after
the show in which various
club members comment up-
on the film and offer criti-
cism.

The recording is return-
ed with the film to the par-
ty or club who loaned it
and serves not only as a

^eieuidlon Lee Lons cine^iir

• Continued from Page 41 S

mefS

ceiver, even though there
might be a visible differ-
ence in contrast discernible
in the film.

“The television movie
photographer,” says
Lubeke, “should strive to
achieve what is known as
‘checker-board’ contrast.
This is a form of composi-
tion in which, upon analy-
sis, it is realized that the
whole field of view is bro-
ken into alternate dark and
light areas. It is not neces-
sary that the various areas
be of the same size or sym-
metrically distributed.

“The overall g a m m a
range of the film must be
kept small. This rule is
frequently violated in mak-
ing shots of personages on
shipboard where a dark fig-
ure or a person darkly
dressed is posed against the
light background of sea or
sky. Such extremes en-
counter overload points in
the several units of the tel-
evision chain from pickup
device to receiver screen.
The effect is similar to car-
rying the contrast to the
toe and knee extremes of
the H-D curve in photog-
raphy. In short, the most
suit able cinematographic
quality for television is
that where contrast does
not go to the extreme one
way or the other.

“An important rule for
television movies is to
maintain action in the
scene. It is well estab-
lished that the eye is used
to reduce detail in objects
in motion in real life. By
the converse, scenes of lim-
ited detail, as in television,
appear to be of greater
clarity when in motion.
Consequently, the principal
characters should move,
gesticulate, or talk when-

ever possible. For this rea-
son, movies shot for the
most part in medium and
closeup shots are the best
for television purposes.
Certain short, motionless
periods may be observed to
avoid monotonous repeti-
tion. When inanimate ob-
jects are to be shown, mo-
tion of the camera in judi-
cious panning or zoom ac-
tion is desirable.

“Another requisite is that
medium or light density
prints with dark frame
lines be supplied for tele-
casting. Dark prints, be-
cause of lack of contrast in
the toe portion of the H-D
curve, and because of the
low signal level produced
in television equipment are
definitely inferior to light-
er prints from the same
negative.

“Shot transitions should
be made with lap-dissolves,
guide fades or instantane-
ous change from one scene
to another. Long fade-outs
give the momentary im-
pression to the television
audience that something
has gone wrong with the
equipment. The receiver
screen does not go complete-
ly dark during a fadeout, as
in a theatre. It remains
lighted to a gray tone simi-
lar to the condition ob-
tained when transmitter is
on the air but not broad-
casting a visual signal.

“Titles, of course, should
be kept to the minimum of
words and lettering should
be large — about four or five
words to the line and not
over three lines to a title.”

Summing up the subject,
knowing what to shoot is
one thing necessary in try-
ing to sell films for televi-
sion programs. Knowing
how to shoot film that will

souvenir but a beneficial
personal reaction to the }
film. I

Others, including clubs, |
interested in receiving such
a recording from the 8/16
Movie Club of Philadelphia
may send their films to me. ; j
Showings are made at our f
club meetings on the third ; i
Thursday of each month. ,

— George Burnwood,

7019 Hegerman St.,
Philadelphia, Pa.

televise satisfactory is quite |
another thing. Knowing i
the answer to both may i t
mean the difference be- 1
tween making movies as a ' i
hobby and shooting movies i
profitable for one of the | ,
greatest fields yet opened ; ;
to substandard film pro- :
duction. I

There’s opportunity, too, j, *
for the serious cinefilmerjji
not interested in the com- 1 :
mercial aspect of cinema- j ;
tography, to get his movies i
before the nation’s televi-!
sion audiences. Right now
all television studios arei
open for airing good 16mm. j|
movies, amateur-made or
otherwise — an opportunity! :
for amateurs with good!
films to get their workj
screened before larger au-i
diences than parlor show-;
ings afford. I

Tuned in on Don Lee’s | '
station W6XAO are more' i
than 800 television receiv-;
ers. Numbered among the
owners are such personages
as Edgar Bergen, Charles
Correll of Amos ’n Andyj
fame, Wallace Beery and'
others whose fame stems!
from Hollywood. Invari-j
ably these television fans|
augmented by enthusiastic
neighbors or guests may be
found gathered a b o u f j
their receivers each even-Y ^
ing when important pro-! '
grams are on the air. |
Thus, television marches' {
swiftly onward and ama-! |
teur cine enthusiasts are| '
beckoned to step into the!
line of march and stride |
along for a fair share of the j
plaudits — and profits. |

In this time of nationa f I
emergency your countr’5 j i
needs your help. Buy De !
fense Savings Bonds anc;
Stamps regularly.

PAGE 437

kOME MOVIES FOR SEPTEMBER

nformauon

PHASE

1 Vernacular (Walter
VH a r d i n g , Brownsville,
I Texas.)

Q. I've noticed the word
\“ cheat” used by some ivrit-
ers of your publication in
expressing certain cine-
m a t i c manipulations in
\ filming pictures. Will you
[please explain the term?

' A. The term “cheat” in
the parlance of the Holly-
wood cinematographer re-
fers to the practice of alter-
ing the position of actors
when moving in from a me-
dium shot to a closeup, for
example, in order to en-
hance the composition; use
of the term has also spread
into other departments of
the industry and is fre-
quently used to describe the
license taken by film edi-
tors in re-arranging scenes,
originally shot for one se-
quence, and using them in
^ another.

Negatives ( Curtis Har-
rington, Beaumont, Calif.)

Q. Can reversal films be
so processed that they will
result in a negative so that
several pidnts of the film
can be made?

A. Yes — any of the pop-
ular brand reversal films
can be developed to a nega-
tive and then fixed out.
There are instances where
Kodachrome has been de-
veloped to a negative. But,
of course, reversal films are
not intended to be pro-
cessed in this way for, as a
rule, processing same to
negatives usually results in
developing too black. When
a negative is required, how-
ever, it is suggested that
the developing time be re-
duced a little or the film be
under-exposed slightly or
both.

not “safe” enough or to
other stray light that has
struck your film between
the time it was being load-
ed into your camera and
the final stages of process-
ing.

Always handle positive
film under a red safelight
such as the Eastman series
“OA” and be sure to keep
the safelight some distance
from the film.

Where safelight or stray
light is not the cause, fog-
ging can generally be at-
tributed to the fact film is
too old or has been stored
in too warm a place.

Titling Adhesive (Dr. Har-
vey Johnson, Seattle,
Wash.^.

Q. Can you inform me if
it is possible to purclmse
some of the adhesive mate-
rial such as used on some
title letters, enabling them
to stick to a title board and
be easily removed for use
again? I tvish to make some
title omiaments that can be
used in a similar way.

A. We would suggest
writing to Mittens Display
Letter Co., Redlands, Calif.,
or to Hollj^wood Cine Prod-
ucts, 3221 So. Figueroa, Los
Angeles, both of whom sup-
ply an adhesive preparation
with some of their title let-
ter sets.

Sound (Dennis Craig,
Seattle, Wash’n.)

j Fogging (Albert F. Jen-
I nings, San Diego, Calif.)

! Q. Friends whom I have
I consulted regarding my
\ first attempt at home pro-
cessing advise that poor re-
sidts I obtained are due to
fogging of film. What, in
your opinion, ivould cause
this ?

A. Fogging could be due
to your safelight if it is

Q. I am planning to pur-
chase a set of dual turn-
tables and a recorder to
make and play recorded
sound with my 16mm. films.
Have you any stiggestions
as to best makes of equip-
ment. Which is best: equip-
ment with 78 RPM turn-
tables or those xoith 33-1/3
speed?

A. For obvious reasons

10'S' A

NEW. MODELS 4 AND 5

CORROSlOn

PROOF!

ARCTIC PROOF!

TROPIC PROOF!

No speed variation at any temperature
10° below zero to 120° above

SEE THESE CAMERAS AT TOUR DEALERS

D
U

P
O
N
T

These two films matched for speed
run the gamut of light intensities

SUPERIOR PAN (high speed reversal) does a heanli-
ful job indoors and out. Use it for special effects,
night shots and all subjects with poor lighting. A buy
at $6.00 for 100 feet. (\^’eston 100 day — 80 maz.)

REGULAR PAN (standard speed reversal) is the all-
purpose economy fdni for outdoor use. Wide latitude
makes it easy to use. Its brilliant gradation puts sun-
shine in your movies. $1.50 — 100 feet. (Weston 12-8.)

FILM

Du Pont Film Manufacturing Corporation 9 Rockefeller Plaza, New York, N. Y

BETTER FILMS for BETTER PICTURES through CHEMISTRY

PAGE 438

HOME MOVIES FOR SEPTEMBER

UNIQUE! REVOLUTIONARY!

NO ADHESIVES • NO PINS

Quixet Letters are made of plastic and
are equipped with powerful "Alnico" mag-
nets that are guaranteed to retain their
magnetic properties for ten years.

WORKS LIKE MAGIC
Quixet Letters will hold firmly to any iron
or steel surface through paint, lacquer,
enamel. Letters have sufficient power to
"pull" through paper, cloth, photoprints.
For Black & White and Kodachrome Titles
•

REGULAR 5/8 " SETS

91 White Letters. 10x14 Black Panel $9.50

91 Red Letters, 9x12 Blue/Green Panel 12.00

DE LUXE 5/8 " SETS

150 White Letters and Numerals, Black

Panel $15.00

150 Red Letters and Numerals, Blue/

Green Panel 18.00

Also available in I" and H/2” si^s letters
•

Ac Your Dealer^ or Order Direct from

HAMILTON DWIGHT COMPANY

155 E. 44th Street New York City

[DON’T OVERLOOK

r THE NEED

AMERICAN BOLEX COMPANY

155 EAST 44TH STREET • NEW YORK, N. Y.

cannot recommend any one
brand of equipment. If
your recordings are to be
extensive, that is if you
will want to add sound to
reels of film 400 feet or
more in extent, you would
probably find it more satis-
factory to use large records
that play at 33-1/3 revolu-
tions per minute.

In this way, one 16-inch
record — 12-inch with some
makes of equipment — will
play for about 15 minutes,
sufficient to accompany a
full 400 feet of film without
necessity of having to
change records while film is
being projected.

When it is desired only
to play a selection of re-
c o r d i n g s simultaneously
with projection of a film,
the less expensive 78 RPM
equipment will prove quite
satisfactory.

No Anti-Halo (James G.
Cowgill, Cleveland, Ohio.)

Q. Friends have suggest-
ed that I try some of the
less expensive films hut I
have hesitated to do so be-
cause I understand some of
them do not have the anti-
halation hacking. Would
that have any effect on the
quality of my pictures?

A. In using film without
the anti-halation backing
you can obtain very satis-

factory pictures. The only
precaution you must take
is to avoid, as much as pos-
sible, shooting into too bril-
liant light, such as water
scenes with sunlight reflec-
tions, white buildings in
bright sunshine, etc.

Binoculax-Tele-lens ( J.
Cohn, Flushing, Mich.)

In using a pair of hinoc-
ulars as a telephoto lens,
how are the hinoctdars fo-
cus ed? Should they be
opened out full length, or
first focused to the eye be-
fore placing before the cam-
era lens?

Ans. The binoculars
should first be focused on
the scene and then placed
before the camera lens,
which should be set at in-
finity, if same is in focus-
ing mount. Lenses in fixed-
focus or “universal” mount
require no setting other
than for exposure.

Lighting the Baby (Benja-
min Harris, Chicago, 111.)

I have an 8mm camera
with an f /1. 9 lefts. Recently
I made some movies of a
new born baby. Although I
used a No. 2 Photoflood for
the light source and a
bright tin near the camera
for a reflector, the pictures
are under-exposed. My

chief problem was to gelj
sufficient light into the,
scene and yet not hurt the
baby’s eyes. 1 used Super],
X film. If

Ans. We appreciate thall
you must be extremely care J
ful with bright lights'
around a new born infant ;
Best photographic results i
may be had with diffused I
light in sufficient quantity
Two No. 2 photofloods with'
gauze, oiled silk or tracing
cloth diffusers in front of
them should give you suffi-i
cient safe illumination t(|
make closeup and semiclose-:
up shots. I

If possible, place lights j
overhead or to one side of
baby so they will not shins |
directly in its face. :

Film Markings (H. C. Met|
zinger, Denver, Colo.) ;

What causes the little,
white marks on the edge of
all processed film between
the sprocket holes. I never
get these markings ivher\
using positive film. ,

The mark you mention isj
made by the camera. Eaclj
manufacturer has adopted
a mark that registers orj
the film. By this mark fj
can be determined whicl|
make and model of camerd
shot the film. The mark isj
on your positive title filmi
only it is very dim. |

Set, OO IL e^indy ideas . . .

Continued from Page 41 1

wave good-bye to the dog.
Back to the dog, we see him
descend from the porch and
trot off in another di-
rection.

Following this are one
or two shots showing
mother and boy walking
toward school, meeting
other children along the
way, then a cut back to the
dog trotting down the
street.

There are the usual shots
showing the mother and
boy arriving at the school
grounds, the greeting by
the teacher, school bell
ringing, children pouring
into the school, and at last
the teacher assigning the
boy to his seat. The climax
is the uloseup of the boy
reaching his seat and find-
ing his pet dog sitting
there. The boy takes his
seat and makes a bold ef-
fort to conceal the dog ; but

the observing teacher
comes into the scene and
leads the dog away. Be-
yond this point your imagi-
nation will dictate how to
end the sequence.

And what about the older
children? Well, there is
always plenty of activity
surrounding their return
to school to make good
movie material — opportun-
ities to film them with
friends whom they’ll wish
to remember in later years.
Who knows — perhaps that
lad you film escorting your
daughter to school may
prove to be your future
son-in-law !

Before the new semester
is far advanced, there’ll be
plenty of activity about the
school yard and campus to
furnish incentive for fur-
ther movie making — par-
ticularly when the football
team gets into action.

There will be rallies, bon 'i!
fires, school dances — ali-
those events you enjoyed s(/
well when you were young ;
Then the “big” game shoukf
offer some swell opporj>
tunities for corking goo(l
football shots. High schoo, i
players always put on
more spectacular gam'j j
than their collegiate broth | I
ers, and besides, you cai- j
get much closer to the ac j
tion in high school contest!! j
than is usually possible a ' |
collegiate games. ' j

If you want more filminj , \
ideas, just think back hi j
the time when you wer< |
young — the things you use< |
to do in your school daysj I
You’ll find much incentive !
to keep your cine earner; | I
clicking, for where then
are children there’s alway, i
action — the stuff goo(:
movies are made of.

PAGE 439

JOME MOVIES FOR SEPTEMBER

iTITLE TROUBLES

By GEORGE W. CUSHMAN

F you have any ques-
lons pertaining to titles
r title-making, Mr. Cush-
lan will be glad to answer
hem. Address him in care
f Home Movies or his res-
dence, 504 Stanton Ave-
lue, Ames, Iowa. In ex-
daining your title troubles,
nclude information such as
I ype of equipment used,
ilm, light source, and
vhere possible, send along
t sample of the title film.
Unclose a self-addressed
j.tamped envelope if you
^jvish an early reply.

Q. I should like to tise
ome photos as backgrounds
il'or titles without marring
%he pictures. How can I do
■his? — C. R., Melrose,
liflf ass.

! A. One method is to let-
|;er the title with white ink
pn a sheet of cellophane or
jpanel of glass and place
Same over the picture back-
ground. Extra caution
nust be employed to insure
igainst reflection of lights
jfrom cellophane or glass
ij.nto camera lens. Careful
ijjplacement of lights at ei-
jlther side of title card will
1 eliminate any reflection.

ji Another method is to let-
i'|ter the title on cellophane
ilor glass with black ink,
then place this over the
jnegative of the photo and
shoot the two with the light
source placed in back of the
titler. This, of course, re-
jjquires that positive film be
I used in the camera,
k Still another way is to
jlshoot the still picture back-
ground separately, wind
Jback the film, replace pho-
to in titler with title card,
[land then shoot the title, su-
perimposing same over the
photo background. This
method makes possible an-
imation effects, too.

And a fourth, which
• many amateurs favor, is to
I type title on a small slip of
'paper and place same at
[.the bottom of the picture,
iusing a rubber adhesive
™that will permit easy re-
moval of paper without
damaging photo.

Q. How long will positive
film keep in good condition?
— B. A. P., Enid, Oklahoma.

A. Under ideal condi-
tions, positive film will keep
a very long time — years, in
fact. But ideal conditions
mean storage in a cool dry
place. Heat, moisture, and
sudden temperature
changes are enemies of film
of any kind. However, it
is true that positive film
will keep longer without
fogging than other films.

Metal cans have a tend-
ency to fog film, and it is
best therefore to always
wrap film in paper if it is
to be left long in a can. To
prove that metal will fog
film, take two pieces of
fresh film and place them
in an ordinary tin film can
— unpainted. Wrap one
piece securely but leave the
other unwrapped. Then in
three or four months de-
velop them, and the differ-
ence will be seen.

It is best to use any film
as soon as possible after
purchase, for all film de-
teriorates somewhat with
age. I would suggest you
write to the film manufac-
turer for more specific in-
formation about the film
you expect to use.

Q. Here is a problem I
cannot explain and am
wondering if you can help
me ivith the solution. I
used up a roll of Koda-
chrome the other night on
some titles. The very first
title has a very noticeable
“weave” effect for the first
second or two — that is, the
title seems to move for-
ivard and back for an in-
stant, then it settles down
and remains stationary.
The other titles do not show
this condition. I shall clip
this section off and use the
rest of the title, so it isn’t
ruined, but I am curious as
to what caused this effect.
— M. N. L., Brainard, Min-
nesota.

A. Although you did not
say so, it is likely that you
had not used your camera
for a week or two, prob-
ably longer. In this time
the film had become rigid

The complete liae of Wollensak Cine
leases meets every requirement for 8 or
16 mm movies. Whether in color, indoors,
telephotos, slow motions — a precision-
built Wollensak means superb results.

, FOR EVERY PURPOSE

ROCHESTER, U. S. A.

"Our new 1941-42 catalog is far more tfian a
catalog. It is a directory of tlie best available in
l6mm sound, l6mm silent and 8mm motion
pictures. It is the year-book of the trade and is
the most valuable book that can be placed on
the desk of any booker of non-theatrical motion
pictures.’’

No matter how you use motion pictures; no
matter what type of motion pictures you want,
you need this new catalog. Send to our nearest
office for your free copy.

IDEAL PICTURES CORPORATION

28 East 8th Street 2102 West Seventh Street 18 South Third Street
Chicago, Illinois Los Angeles, California Memphis, Tennessee

BERTRAM WILLOUGHBY PICTURES CORPORATION

SUITE 600, 1600 BROADWAY NEW YORK, N. Y.

PAGE 440

HOME MOVIES FOR SEPTEMBER

GOERZ -

KINO-HYPAR
LENSES

f:2.7 andf:3

GOERZ Reflex FOCUSER

— Patented —

For 16mm Movie Cameras — voids PARALLAX
between finder and lens — provides full-size
ground-glass image magnified 10 times. Adapt-
able to lenses 3'' and up. Also useful as ex-
tension tube for shorter focus lenses for close-
ups. Extensively used in shooting surgical op-
erations, small animal life, etc.

For regular and color
movies of surprising
quality — high chro-
matic correction . . .

♦ Focal lengths 15mm to lOOmm — can be fitted
J in suitable focusing mounts to Amateur and
f Professional Movie Cameras.

GOERZ Parallax-Free FOCUSER
and FIELD FINDER CONTROL

No more off-center pictures, for Filmo 121 and j
Simplex-Pockette magnifies 4 and 8x. \

For Detailed Information Address I

Dept. HM-9 j

C. P. Goerz American Optical Co. j
317 East 34th St., New York {

American LensMakers Since1899

OPTICAL CO.

Licensed & Mfd. under
Mac Van Patent Pending

Take Wide Angle Shots
With Your 8mm Camera!

The new MACK WIDE AJMGLE AUXILIARY
LENS opens a new field of picture-taking
pleasure! . . . Wide Angle "shots” as used
by major Hollywood Studios to give punch
and realism to professional sequences.

• Merely screw in FRONT of regu-
lar lens — no interchanging neces-
sary!

• Gives TWICE the width of field
covered by regular lens!

O Incorporates Wire Sharp Focus-
ing Adjustment — insuring crystal-
clear shots FROM 2 FEET TO
INFINITY!

• Optically correct — ideal for
black and white or KODA-
CHROME. both INDOORS and
OUT!

Models for all regular 8mm movie camera lenses,
fixed focus or focusing of apertures from
f l.S to f 3.5

At Your Dealer, or Write for Full Details

where it rested on the film
sprocket— had become bent,
so to speak. As you start-
ed the camera, this bent
portion was the first to
pass through the film gate,
and it wobbled in and out
of the film plane as it did
so. The result was an un-
even image on the film
which appears to move for-
ward and backward when
projected. This always hap-
pens to the first foot of film
exposed after the camera
has been left loaded for any
length of time. This flick-
er isn’t as objectionable on
ordinary scenes, often times
g 0 i n g unnoticed, but is
quite visable — and annoy-
ing — on titles. The rem-
edy is to either keep the
film from being left too
long at a time in the cam-
era, or else run off two feet
before doing any exacting
work if no film has been ex-
posed for several days.

Q. Why does positive film
leave a ivhite line at the
bottom of the title whereas
reversal film does not? —
C. S., Omaha, Nebr.

A. The line is there,
whichever film you use,
only with reversal film it is
black and you don’t see it.
This is caused by the aper-

ture in the projector being
slightly larger than the
aperture in the camera.
One or the other is not cor-
rectly aligned. My sugges-
tion is to find out from the
camera and projector man-
ufacturer which one is in-
correct and have it ad-
justed.

Q. I have been experi-
menting with white letters
on moving Kodachrome
backgrounds, but the result
in the background is a
washed-out appearance
(sample enclosed). The let-
ters are white paint on
black cardboard exposed, in
sunlight. What causes the
gray background and how
can it be corrected? — J.P.,
Dallas, Tex.

A. You are over-exposing
your black cardboard. I im-
agine it is not black or, if
it is, you are getting light
reflection from it. Light it
more carefully, making
sure that there is absolute-
ly no reflection. Next, I
would s u g g e s t less expo-
sure— in fact, cut down
your exposure as far as
possible, yet still retain
enough exposure to give a
good white letter. If these
fail, you can use white pin
or metal letters against

black deep pile cotton vel-,
vet. This is about the!
blackest thing there is, and)
you will get no reflection. |

Q. I have noticed titled
having backgrounds which]
seem to fade and melt intc
one another and would liki
to prodtice some of thesi\
effects if possible. Can I di\
it with my 8mm camera?—
A. E. J., Pueblo, Colo.

A. The professional stU'
dios have hundreds of way
of producing background;
with motion. You can, how*
ever, come very close t(|
such effects by the use o:j
double and triple exposure
Set up the effect you wan
and photograph it, slowl;!
moving it, underexposinj!
slightly. Rewind the filn*
and repeat the procedure
moving the backgroun(
slowly the other way. Re
wind the film and re-expos
as many times as you wish
After this is done, the titk
which is made of white lei
ters on a very black back
ground, is exposed. If i:'
exposing the background
you will photograph ther
slightly out of focus, then
will appear to blend mor
smoothly. The letter
should be large, bold, bloc|
letters.

Emulsion Ratings for 8mm and IBmm Films

Scheiner

Weston

G-E

Scheiner

Weston

G-E

c ^

s <

AGFA

GENERA

16mm SSS Pan .

100

125

100

Super Meteorpan

16 Hypan

Super Panchromatic

16mm Supreme Pan. Negative. .

100

Movetone Ortho

16mm Finopan Negative

Semi-Ortho

' ' q

16mm Positive

16mm Plenachrome

KIN 0 LUX

8mm Twin-8 Hypan

No. 1

' ’ ft

8mm Filmopan

No. 2

No. 3

■ • SI

tDUPONT

Regular Pan (Rev.) Type 321

. .20

CONSUMERS

100

Superior-2 (Neg-Pos or Rev) Type 301

Panchro

• ■ ^

Type 314 Pan (Neg.-Pos. or Reversal) .

Colorcrome

• ■ 1

Positive Type 600

1/6

Sound Recording Positive Tvpe 601 .

HOLLYWOOD

•1

S. S. Pan

■■ J

EASTMAN

Pan

16mm Super XX Pan

100

125

100

Semi-Ortho

16mm Super X Pan

16mm Safety

UNIVEX

16mm Pan. Negative

Ultrapan

16mm Positive

8mm Super X Pan

GRAPHICHROME

8mm Regular Pan

R’gular

■■ i

Kodachrome (8 and 16mm)

14*

Plus

■■ !

Kodachrome “A” (8 and 16mm)

18*

12*

Superpanex No. 100

100

Superpanex No. 24

, 21

■■ 1*

GEVAERT

Colortone

SupeTReversal

Panchro

Ortho

*With lilter.

JRatings for last four Dupont films are for straight development. Ratings for reversal depend upon processing formulas and technique employed.

PAGE 441

'^OME MOVIES FOR SEPTEMBER

Pass says:

Here's something you
can make a noise about
! . . . the ever popular
I RCA 16mm Sound-on-
t' Film Camera

J-ong since out of the exclusive
”i;lass . . . SOUN D is now an AC-
J3EPTED fact with thousands of
•limateurs . . . and this job gets
'jirofessional results. In fact
■ BASS personally guarantees It. Write for literature
I ..good trade in too. NEWS MODEL: with I inch
'|F:3.5 lens, batteries and mike, . .only $275.

RCA STUDIO RECORDING
GALVANOMETER. Metal
housing, connecting cable not
including optical system $125.

MOVIKON 16

Bass, a veritable magician,
still has a few for sale . . . with
coupled optical range finder to
the grand SONNAR F:l.4
lens, choice of seven different
lenses.. .26 unique refine-
ments... In a class by itself
...complete in beautiful case
.. .at BASS. . .still only $385.

Send for Free Bass Cine Bargaingram

Oeot CAMERA Ca

H M IT9W./MADKON IT

CHICAGO.ILL.

COLORFILM OUTSIDE

With the PB Movie Kit for Color Film

$4.25 COMPLETE
1 PU Lens Shade and Filter Holder
J PR Haze Filter (for Kodachrome)

1 Pit Conversion Filter (for converting Type A to
Daylight)

1 PB Filter Pouch

For 8 mm. Eastman, Beil & Howell, Revere,
Keystone and others.

ALSO AVAILABLE

Polaroid Filter . . $4.75 Portrait Filter . . $0.75
Order from your nearest dealer or direct from:

PONDER A BECT GRAND AVE.,

rwnUCK ft Bfe>T LOS angeles, calif.

From Your Dealer or Direct

BAIA MOTION PICTURE ENG.
259 Gerald, Highland Park
(Detroit), Michigan

YOUK OWN MOVIE FILM |

SAVE MONET

This outfit Includes every
thing you need. 110 ft
capacity developing reel
drying rack, and instruction
book containing formulae
Reel handles 110 ft. 16 mm
or double 8 mm. <f l a Qc
film. Special ...

Same as above, but capacity
34 ft. 16 mm. or tfQ CA
double 8 mm. . .

Camera spools 35c each (any
Processing rates 100 ft. 16 mm. 85c; 25 ft. 8/8
Set of 4 half'gallon Processing Powders $1.35.
instructions, plans and directions for making
own Processing Outfit 25c postpaid. Order Direct from
ad or Mail Postcard for Free Bargain circulars, bulk
film, price li.sts, etc.

Superior Bulk Film Co., “Home Processing Headquarters*’
Oept. H-9 188 W. Randolph St. Chicago. III.

When You Buy BAIA
You Buy the Best

Precision Made;
Guaranteed Perfect

$2.50

HOME MOVIE PRO-
CESSING is easy with
our light-proof FLEX-
ON. Film completely
inclosed. Faster wash-
ing. Professional results.
V/rite for prices on
film and Rev. Proc.
powders.

The FLEXON CO.

1910 Belmont, Chicago

Photographic Products
of Distinctive Merit . . .

motion picture screen

and ACCESSORIES CO.. INC.
351 West 52nd St.. New York City

•Student made

Continued front Page 423

• •

graphed. One supervisor in
a New York high school
said for years his students
paid little attention to the
study of public health —
took it as a m at t e r of
course. “But in 1937 when
the hygiene class decided to
make a movie on the sub-
ject, they gained a more
thoj’ough understanding of
the city’s health problems
than any ten classes be-
fore it.”

It is interesting to note
that in order to maintain
this interest in public
health, each year the ensu-
ing class is given the film
and told to add to or
change it and bring it up
to date. To change a film
means it must be thorough-
ly studied, and such a thor-
ough investigation has kept
each class vitally interest-
ed in public health.

Another teacher has
stated that movie making
brings about a wider field
of genuine experiences
than any other he has em-
ployed. His students take
movie-making seriously,
and when the work begins,
the best efforts of each par-
ticipant are brought to the
surface. Even if a profes-
sional photographer were
employed and nothing was
learned about the actual
photographic technique, the
project would still be worth
while. Not only do the
participants receive experi-
ence in scenario writing
and acting, but the re-
search for authentic detail
is most valuable. Inter-
views are necessary, and
these are made in earnest.
The student seems to feel
a deeper responsibility here
than in other projects.

Says another educator :
“Our motion picture exper-
iences have brought the
students many contacts,
several of which no doubt
will prove more than help-
ful in an uncertain future.”

More than one student
has found his life work
through helping the pro-
duction unit in making a
film. In Cincinnati, Ohio,
recently, a filming group
chose for their project the
story behind the city’s
parks and playgrounds.

One student found the
work so fascinating that
he succeeded in obtaining
part time work during the
summer as an assistant
playground supervisor. He
has just been given a full
time job in this field — the
direct result of his having
helped make a student mo-
vie while in school.

To obtain the maximum
value from this co-opera-
tive form of student enter-
prise, the supervisor
should make certain that
the various duties are well
distributed among the stu-
dents. Do not let one per-
son do all the interviewing,
nor another write the en-
tire scenario. Instead, let
each member of the group
write the entire scenario,
then compare notes, and
from the ensuing discus-
sion draft a master sce-
nario. If business m e n
must be interviewed, stu-
dents should contact sev-
eral, then compare notes
thus working the project
for all the educational
value it contains.

And the film? When it
is finished, it will look like
a Hollywood masterpiece
to those who worked on it.
Was it done right? Is its
message correct? If so it
can be used in fmther
teaching. Perhaps next
year the new student body
will want to add to, or re-
make the picture. Perhaps
it will give them an idea
for another film on another
subject, one which is nec-
essary but as yet unavail-
able.

In conclusion, what about
the professional education-
al film as compared to the
amateur production? Can
it even be compared? Said
one instructor in a large
midwestern college. “The
professional films are fine,
but they are too general, as
of course they must be. I
cannot expect to buy one
dealing with local condi-
tions ; so if I want such a
film I must make it. On
like subjects, the profes-
sional film is nearly always
better, but when a subject
is too local to make a com-
mercial film of it worth-
while, the teacher or stu-
dent-made film is all that

3 SENSATIONAL

IMPROVEMENTS FOR
AMATEUR MOVIE MAKERS

Franklin accessories provide the amateur movie maker
with practical aids for the better projection of his pic-
tures. Ever>' Franklin product is reasonably priced and
guaranteed to give satisfaction.

THE FRANKLIN SUPER FILM SPLICER

SAFETY REEL
with

Threading Device

No other like it. Endn
slot-threading. Makes
it possible to thread
film outside of reel.
Durably made and
guaranteed, 8 or 16mm
available in 200 and
400 foot sizes.

200-ft 40c

FRANKLIN
REWIND
with

Clutch Crank

Geared 5 to 1. the
Franklin Rewind
gives smooth, fast
rewinding without
■.he annoyances often
••xperienced with
moderately priced
units. Outstanding
value at $4.50 per
pair. Ea., only $2.25.
As/c Your Dealer to See These Items

Franklin Photographic Industries, Inc.

223 W. Erie St., Chicago, III.

None other like it!

I n corpo rates
features of
much higher
priced splicers,
plus many other
exclusive fea-
tures. Cuts
and cements
in one opera-
tion— Simpli-
fies splicing —
saves time. Al-
ways makes a
perfect splice.

Instantly adap-
table to either
sound or silent
film in 8 mm.
or 16 mm. Precision built, chrome-plat>ed, mounted
on walnut finish wood base. Price
complete, at your photo supply store,
only

$6.50

Tlio ‘‘Midget’’ No. 50 Clamp •on, at top, is
an excellent concentrator of light, using a
No. I Floodlamp. Twice as effective as other
concentrator types. Use it to bigb-Iight or
point-light your indoor subjects. Priced at
$1.95. • Tho No. 70 Unit, below, gives you

maximum results with No. 1 lamps. Use it
for modeling or general illumination. Your
Dealer can supply you. For Free literature
write J. H. SMITH & SONS CORP., 910 Lake
St., Griffith. Indiana.

Your lighting with these

Victor

Gla*Kp.-OH,

PAGE 442

HOME MOVIES FOR SEPTEMBER

You Can NOW
SAVE MONEY

with a
Sfi^ecicMu

miHP ADAPTER

Makes ANY Standard Type Lamp
Fit Your Projector Perfectly

Why keep on paying fancy prices for pro-
jection lamps with special bases? With a
Specialty Lamp Adapter, any standard
type projection lamp can be adapted to
fit your Bell & Howell Projector perfectly.
The Specialty Lamp Adapter is precision
made within tolerances of less than a
thousandth of an inch, to guarantee abso-
lute accuracy in positioning the lamp in
your projector. You can attach it in a
moment.

The money you save by using standard
type, competitively priced lamps will pay
for your Specialty Lamp Adapter many
times over. Get one today from your
dealer, or mail us 95c and we will send
you one postpaid. State your lamp wattage.

r-r\

-irl.UU

U. S. PATENT No. 2,190,834

New Price

95c

Specialty Equipment Co.

600 South loth St., NEWARK, N. J.

$AVE ON MOVIE FILMl
AT THESE LOW PRICES! ■

Order Direct from this Ad!

,, I6mm 16mm 8mm

^ 100 ft. 50 ft. 25 ft.

1.98 1-39 9 8=

ESSCO 12

ESSCO No. 8 Weston 8 semi-ortho 1*^9 J.19

ESSCO No. 24, extra fast, Weston cq /> >ia i

24-16, pajTchromatic, fine grain 3'°^ 2'^^ 1*'^^

ESSCO No. 100. Pan, non-halo,

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In bright daylight - 0^1

Fast processing and return postage included. Each roll on
daylight loading spool, in metal box and strong carton,
ready for use in all standard cameras. 24-hour processing,
ORDER DIRECT FROM THIS AD. $1.00 Deposit Re-
quired on C. 0. D. Orders.

ESSCO

FILM PRODUCTS

61 17 S. Campbell Ave.
Dept. H(vi-9 CHICAGO, ILL.

First Step to Successful Pictur

Free lliuslnled catalog, crammed with hundreds of new ' ,
and used bargains. Lists everything photographic— still
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for your FREE copy— just ouL Huny!

CENTRAL CAMERA CO.°!?’^‘

230 So. Wabash Ave., Chicago, III. Since 1899

is or ever will be available.”
With all of the advan-
tages thus possible through
amateur student filming it
is difficult to realize that
any educator could remain
out of sympathy with such

^J^ow to

• Continued from Page 4 1 6

which prevents projection
of a clear image of the pic-
ture. To overcome this, the
regular pro j ector bulb
should be replaced with an
ordinary 60-watt bulb fitted
on an extension cord and
inserted in the lamphoiise
from the top. The safety
screen may then be fixed in
open position by means of
a bit of adhesive tape or
match stick.

The motion picture film
is then flashed upon the
opal glass screen from pro-
jector set up at rear, thus
causing the moving image
to appear upon the screen
pictured in the photo en-
largement. In this instance
it is necessary that film be
threaded in projector with
shiny side away from the
light source — just the op-
posite from ordinary pro-
jection requirements.

The one remaining prob-
lem is to light the front of
the enlargement j ust
enough so that it will have
the appearance of a dark-
ened room when finished.
Just any illumination won’t
do, because the opal glass
must be kept dark, other-
wise the image projected
from the rear will not show
up properly with good snap
and brilliance.

The best solution worked
out so far is that of one
amateur who made a 2"x2"
glass slide with an opaque
center, as shown in Fig. 2,
projecting this slide upon
the photo enlargement in
an arrangement similar to
that shown in accompany-
ing illustration. The
opaque center — a small
piece of black paper cut to
the same proportions as the
screen area in the enlarge-
ment— caused no light to
strike the screen area but
allowed the rest of the en-
largement to be adequately
lighted for making the shot.

An exposure meter
placed right against the

a program. But student
movie making is new; the
entire field is one of pio-
neering; and like any new
development it has its
measure of opposition un-
til it proves its merits.

Cl mouie . • ,

opal glass (from the cam-
era side) will give neces-
sary exposure reading. The
enlargement itself should
net a reading of about 1/4
as much. The light source
in the slide projector can
be weakened by using fil-
ters before the lens. If fil-
ters are not available, a
diaphragm made of ordi-
nary black paper can be
used, the size of the hole
determining the amount of
light passing through.

With the set-up com-
pleted as described, a few
tests will be necessary.
Keep a careful record of
the light distances and oth-
er details, and when the
film is returned from the
processing station, the best

results can be determined!
and the correct lighting!
procedure used. '

Although frame by frame*
printing will seem long, re-i
member that the results'
will be most satisfactory!
and there will be no flicker;
as when the projected pic-’
ture is filmed in actual mo-:
tion. Also, single frame
copying of this kind makes ’1
possible the use of back-
ward motion, stop motion,;
etc., for trick effects. Foi,
instance, if the film to be
copied is that of a diver.,
the amateur might proceed;
with the copying frame by
frame until the diver is,
just about to hit the water'
then, instead of moving the;
film in the projector it is'
left on the same frame
while several exposures are
made. The result is tha ’
the diver goes just so fai;
and then stops suddenly^
(You’ve seen that in tin-!
professional films.) Thei'
the film in the projecto:i
might be backed up f rani' I
by frame so that the resul-.
shows the diver going tj.
the water, stopping, then
backing up to the top ol
the tower. i ,■

In a similar manner, ac'.

Movie of the Month

• Each month the editors of
HOME MOVIES select the best
picture sent In for analysis and
designate it "The Movie of the
Month." This movie is given a
detailed review and a special
leader Is awarded the maker.

This award does not affect the
eligibility of such films for entry in
the annual HOME MOVIES CON-
TEST. They are automatically en-
tered for rejudging with those
films submitted especially for the
annual contest. Films awarded the
honor of MOVIE OF THE MONTH
during the past 12 months are:

1940

OCTOBER: "Driftwood," pro-

duced by A. O. Jensen, Seattle,
Wash. An 8mm Kodachrome film
400 feet in length.

NOVEMBER: "Father's Time,"
produced by Raymond Fosholdt,
Long Beach, Calif. A 16mm pic-
ture, 400 feet in length.

DECEMBER: "Spokane and The
Inland Empire," produced by Bur-
ton Belknap, Spokane, Washington.
A 16mm Kodachrome picture, ap-
proximately 800 feet in length.

1941

JANUARY "Three-Wishes" pro-
duced by Earl Cochran, Colorado
Springs, Colorado. An 8mm Koda-
chrome picture, 125 feet in length.

FEBRUARY: "Happy Landing,’ I
produced by Mildred Caldwell, '
Long Beach, Calif. An 8mm Koda- ;
chrome picture, approximately 400 j
feet in length. |

MARCH: "Home Town," pro- |
duced by West W. Champion,
Fresno, Calif. A 16mm picture, ;
1600 feet in length.

APRIL: "Fledglings," produced
by Dudley Porter, Beverly Hills, i
Calif. An 8mm Kodachrome pic- i;
ture, 150 feet in length. C’

MAY: "A Pain in the Night," |
produced by Rev. Raymond G.
Heisel, Elmira, N. Y. An 8mm
Kodachrome picture, 125 feet in ]
length.

JUNE: "Tropical Ecstasy," pro-
duced by Dr. Roy L. Gerstenkorn, I
Beverly Hills, Calif. A 16mm Ko- '
dachrome production, 350 feet in
length.

JULY: "Within These Hills,"

produced by J. Glenn Mitchel,
Joplin, Missouri. A 16mm Koda-
chrome picture, 800 feet in length,
with sound on disc recording.

AUGUST: "Dedication," pro-

duced by Alex W. Morgan, To-
ledo, Chio. An 8mm. Koda-
chrome picture, 400 feet in
length.

SEPTEMBER: "Through the Win-
dow Pane," produced by Mrs. i
Warner Seely, Cleveland, Chio.

A 16mm. Kodachrome picture 400 ;

feet in length.

HOME MOVIES FOR SEPTEMBER

PAGE 443

Now in 16mm Sound!

Charlie Chaplin

Feature Film

BURLESQUE ON CARMEN

Five reels of Chaplin humor at its best.
His laugh-provoking antics and hilarious
satire are topsl New orchestration pro-
vides swing version of the entire score of
Carmen.

Two BOBBY BREEN Hits!
FISHERMAN’S WHARF

The latest Bobby Breen picture in
16mm centering about San Francisco’s
colorful waterfront colony. With Leo
Carrillo, Henry Armetta, Lee Patrick.
8 reels, sound.

BREAKING THE ICE

Starring Bobby Breen w'th Charles
Buggies and Irene Dare, world’s young-
est ice-skating star. 9 reels, sound.

These Films for Rental or Sale.

Send for catalog of 2200
Subjects for home users.

WALTER O. GUTLOHN, Inc.

35 W. 45th St.. Dept. B-9. New York. N. Y.

FAMOUS KNIGHT METAL LETTERS
FOR MOVIE TITLES

Ask for sam-
ples of the
most beauti-
ful capital
and lower
case letters
made. Deluxe
sets. 225
pieces in case
with corner
pieces, twee-
zers and

cement $9.00

net, 160-

piece font $7.00. Specify white or black letters.

KNIGHT & SON

BOX B SENECA FALLS. N. Y.

,7/i/o

{ METAL Letters

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AMAZE YOUR FRIENDS!

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HAND - LETTERED TITLES
in Black & White or Colors
• All 8mm or I6mm Cameras •

The “A to Z” trace-a-title
method is the first real im
provement over the old fash
ioned way of title making
Outfit includes Twelve Alpha
bets. Initials. Numerals, DIs
tance chart, etc. for only $2.00
Oe luxe outfit with frame $3.00
at your dealer or direct. Write
for Free Kit today — Dept. H29.

AtoZ MOVIE ACCESSORIES CO.

I7S FIFTH AVE..NEW YORK CITY

Announcing
8mm. HOME MOVIES 8mm.
PICTURES IN COLOR

First Releases —

1. Flowerland

2. California Missions

3. Junior Midget Racing

4. New Zealand Clipper

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tion can be speeded up by
using- only every second or
third frame, or it can be
slowed by exposing each
frame two or three times.

Hollywood has used this
method of rear projection
for many years, only their
screens are many feet in
size, and their actors ap-
pear in front of them.
They, too, have the ticklish
problem of lighting the

• Continued from Page 420

day in America’s vacation
spots. Much of it is virtual-
ly wasted on distant scenes,
lofty mountain peaks, beau-
tiful trees, flowers, and
similar subjects — none of
it containing any motion. It
would have been far better,
yes and much cheaper, to
have made such pictures
with a still camera, per-
haps into slides.

But a little thought — a
little planning beforehand
— is all any one needs in
order to make those same
subjects good movie cam-
era fare. A couple of horse-
back riders in the fore-
ground is always good. A
herd of wild animals mov-
ing slowly through a scene
gives it life. Even an au-
tomobile traveling a moun-
tain road in a scene will do
if nothing more appropri-
ate presents itself.

Such action in a scene
does not detract from the
beauty of the landscape. In
professional films where
landscapes are used, there
is always action of some
kind in the foreground.
Such shots can run longer
than usual, so the audience
will have time to see both
the action and the land-
scape.

There are many kinds of
cinematic action. First, of
course, is that w^hich con-
tinues from one scene to
the next, familiar to all of
us as the photoplay. Each
scene carries the story a
step farther.

Then there is that kind
of action which is nothing
more than movement. One
scene is not dependent up-
on the next scene for con-
tinuation. Instead each
provides its own movement.
This is the type of action
familiar in newsreels, or.

actors in the foreground ,
yet having none of the light j
splash onto the translucent i
screen at the rear. !

There are other amateur ’
adaptations for the rear
projection principle, and
cinebugs are working out
new ones every day. It’s
just another interesting as-
pect which helps to keep |
serious movie amateurs on '
their toes.

e move 1

with the amateur, those
typical “first shots” show-
ing dad coming out the
door, sister playing with
the cat, mother hanging up
the clothes, etc. There is
movement, but it differs
from action in that it never
gets anywhere.

Another type of action is
that which we shall call cir-
cular movement. It goes
forward and back again,
over and over, never any
different. Into this class
falls scenes of rippling wa-
ter, the wind blown leaves
of the trees, the drizzle of
the rain down the window.
It is the same action re-
peated over and over. No
change of action will come,
and none is anticipated.

When motion is the
prime reason for the ex-
istance of a movie camera,
it seems that motion should
be the reason for using it.
As one amateur so ably ex-
plained it: “If the scene

contains action too fast for
my still camera, I use the
cine, but when the action
dies down or doesn’t exist,
my still is employed.” Pret-
ty good philosophy there. '

If you’ve returned from
your vacation, with some of
those static, actionless
shots mentioned earlier,
here’s a method for pep-
ping them up with a lit-
tle added action that you ^
can film over the weekend.
Assuming there are a col-
lection of shots of moun-
tain landscapes, snow cov-
ered peaks, etc., let’s inject
a little more interest into
them by shooting a few ac-
tion scenes to tie them to-
gether. Arrange for one
or two friends to accom-
pany you on a horseback-
ride into the country and

7 iecive out tL

Here's the tltler you've been waiting for.
The HEWITT Movie Tltler containing 246
precision molded characters, including
upper and lower case, and punctuation
marks. Stick-on backs permit instant
application on any surtace . . . easily
colored for use with Kodachrome.

Complete instructions with each kit.

Price $7.50

At your favorite photo dealer, or write to

HOME PROCESSING OUTFITS!

Send for one of these low cost sets and process your
own moviesl Consists of developing and drying rack,
loading stand, tray, safelite, and set of prepared
processing powders. Simple step-by-step instructions
insure good results first time.

SET NO. 1, capacity 30' single 8 mm. With |

V2 set processing powder . . ,

SET NO. 2 takes 30' double 8 mm. or 16 A QC
mm. With 1 gal. set of processing powder
POWDERS ONLY: 1/2 gal. Set, $1.25; 1 gal. Set, $1.85

$3.35

8;: ^GENERA Dble. 8mm M6;:

ACCURATELY SCORED — Separates without slitting
A FINE GRAIN REVERSIBLE OUTDOOR Semi-Ortho Film
FREE Film I^rocessing InstJTJctions with all Film orders

200

$1.50

Spools: Univex 15c
post- Keystone 35c
paid Eastman 40c

100 ft. straight 8 for Univex and Keystone, $1.00 ptpd.
100 ft. 16mm on paper spool for 16 cams., $1.25 ptpd.
400 ft. 16mm in 400-foot reel container, $4.15 ptpd.
Write for Big Bargain Circulars, our processing prices

FROMADER GENERA COMPANY, Davenport, la.

For Good Results — Load With

□IVYX MOVIE FILM

Onyx 8 Ortho Onyx 24 Pan

100 feet 16 mm. . $2.00 $4.00

25 feet 8/8 mm .90 1,35

30 feel Univex. .50 .90

RATINGS— 8- 24 FOR DAY.
Reversal processing free of charge.
Write for price list of other types of film
and chemicals for home processing.

KENWOOD HLMS

818 E. 47th St. CHICAGO, ILL.

f 18 exposure roll Eastman Plus X
free to introduce to you amazing
low-cost (only 00c for developing
roll and making 30 enlargements),
high-quality still photo-fin Ishlng.
Exclusive automatic equipment
permits unheard of economy plus
precision finishing. Clip this ad
and send with 00c and your 35
mm.. 36 exp. •'Candid*' type film
for Argus. Loica. Kodak “35”. etc.
(except “Mercury”) for fine gram
developing and 36 enlargements
3”x4”. 18 exp., send 55c.

SATISFACTION ABSOLUTELY
GUARANTEED OR MONEY BACK
Credit for non-printing negatives.
Special Discount Plan on repeat or-
ders. Thousands now using this su-
perior Hor\'lcc monthly. Free mail-
ing bags, literature. Write:
Technifiniih Laboratory. Dept. U-9
641 Brown St. Rochester. N. Y.

PAGE 444

HOME MOVIES FOR SEPTEMBER

Now You Con Take
Such Swell Pictures!

Now at last you can get make-up specially
developed for yo//r black-and-white photogra-
phy. Subdue bad features, achieve flattering
movie-quality pictures and save retouching!

Hampden’s Photographic Make-up is a com-
plete easy-to-use kit for all your make-up
needs. It comes in the new stick form with
full instructions on how to use!

Creamy • non-greasy • blends perfectly •
easy to remove • conceals minor defects •
gives the skin a beautiful, smooth, satiny finish.

Save time, trouble, wasted film and have
more beautiful, natural-looking pictures. Get
yo//r kit at any photographic store or from
Hampden Sales, 251 Fifth Ave., New York.

PHOTOGRAPHIC MAKE-UP

Load Your Movie Camera
with SOLAR FILM now

Prices Include 24-hour processing
at SOLAK laboratories in Chicago,
Kansas City, and Miami.

400 dealers in 201 cities now carry
Solar Film. If your dealer hasn't
SOLAR film, ask him to get it for
you, or order direct from this ad.

Weston
Rating

SUPER Outdoor 12

Ortho, wide latitude,
non-halation.

^ ECONOMY Outdoor- 8

Semi-ortho.

★ HI-SPEED 24

Panchromatic, fine
grain.

it ULTRA HI-SPEEO..

Pan. non-halo. Not
for bright daylight.

SOLAR CINE'

3827 Archer Ave.

$2-00

15“ $0.00 $3.50 $2-25

PRODUCTS. INC.

Dept. 1-A Chicago. III.

CONTROL

Your room lights Irom where you sit. No
more stumbling in the dark when running
your pictures. No installation! Just plug in!
Many other uses for the photographer.
Underwriters' Laboratories approved!
Only $1.00 Postpaid

The CONTROLLEX Co.

1136 VINE STREET HOLLYWOOD, CALIF.

IGMM

OUTDOOR

AMBERTINT FILM

per 100 ft. roll

$250

Machine processing, spooling and mailing in-
cluded. Calif, buyers include sales tax.

HOLLYWOODLAND STUDIOS

''The fFest's Greatest Film Mail Order House**

SOUTHGATE CALIFORNIA

after singling out some ap-
propriate vista to backdrop
your riders, shoot a few
scenes of them admiring
some panorama off in the
distance. As a movie en-
thusiast, you know the
rest.

When these shots are re-

recorder. Snap the switch
in position for recording
and turn up radio volume.
Say a few words into the
mike, then play back what
you have recorded. If vol-
ume and tone are satisfac-
tory, no other changes need
be made in the hook-up. If
volume or tone is not equal
to the original it may be
necessary to purchase a
matching transformer to
balance the recording head
with radio amplifier. The
proper transformer may be
had by informing your ra-
dio dealer of the type of re-
cording head and radio you
are using.

Where a separate ampli-
fier is desired instead of
using one’s radio, units are
to be had at various prices
and of many styles and just
as varied in quality. If you
plan to mix both music and
speech in your recordings
— and this most certainly is
necessary for satisfactory
recordings to play with
movies — buy an amplifier
that is provided with sep-
arate volume controls for
the mike and record player.
An ideal amplifier for this
purpose is that with a class
A push-pull outfit and
with at least 10 watts of
power. Any radio dealer
or wholesale supply house
can aid in the selection of
the best equipment for this
purpose.

To hook up recorder with
such amplifiers, fit the re-
quired type plug to the
shielded cable leading from
recorder. Plug microphone
in receptacle provided.
Then hook up recording
head directly to the ampli-
fier output. If amplifier is
provided with a choice of
output impedance, it will
be necessary to use the 500
ohm line. 'Tf not, it may be
necessary to use a match-
ing transformer.

Different makes of re-
cording units provide vari-

turned from the processors,
splice them in with the sce-
nic shots filmed on your va-
cation. The mountain and
landscape shots become the
scenes your riders admire
in those post-vacation mo-
vies you filmed of them on
horseback.

oils means for increasing
o.r decreasing the depth of
cut made by the recording
needle. The depth of cut is
highly important in secur-
ing best quality recordings,
and in most instances
proper adj ustment of
needle cut is made before
recorder leaves the factory.
Nevertheless, examine the
grooves in the record after
a test cut has been made.
The grooves and the space
between them should be

about the same width. Dur-
ing playback, if a faint
echo is heard, this indicates
needle is cutting too deep.
An adjustment screw is
provided to adjust cutting
depth. Always use a fresh
needle when playing home
recordings. Where needle
fails to “track” or stay in
the groove, recording cut is
not deep enough.

In conclusion, here are a
few tips to be observed in
constructing and using a
home assembled recorder;

Always use rosin-core
solder on all wiring connec-
tions.

Never touch with bare
hands any exposed wires
while unit is connected
with power supply.

Do not disconnect radio
speaker when recording
head is connected and
power supply is on.

When making record-
ings, talk in normal tone
with lips about four inches
from microphone.

FILTER FACTORS FOR POPULAR 8MM AND I6MM
REVERSAL CINE FILMS

Filler

K-1

K-2

K-3

Aero 1

Aero 2

23-A

Light

Medium

FILM

De-

Light

Medium

Dark

Yellow-

Light

scription:

Yellow

Green

Orange

Red

Cine Kodak “8” Pan

Daylight

Mazda

Cine Kodak “8" Super X. .

Daylight

Mazda

Cine Kodak Safety

Daylight

1.5

2.5

Mazda

1.5

Cine Kodak Super X

Daylight

Mazda

Cine Kodak Super XX ....

Daylight

Mazda

Agfa 16mm Plenachrome. . .

Daylight

Mazda

Agfa 16mm Panchromatic..

Daylight

Mazda

1.5

Agfa 16mm Triple “S" Pan

Daylight

1.5

1.2

Mazda

1.2

1.5

Agfa 16mm Hypan

Daylight

1.5

Mazda

1.5

Agfa Twin-8 Hypan

Daylight

Mazda

1.2

Gavaert Panchro Super. . . .

Daylight

1.4

2.8

Mazda

1.4

Gevaert Panchro Microgran

Daylight

2.8

Mazda

Gevaert Orthochromatic. . .

Daylight

11.

Mazda

Dupont Regular Pan

Daylight

2.5

3.2

6.3

Mazda

Kin-O-Lux No. 1

Daylight

Mazda

NOT RECOMMENDED FOR FILTER USE

Kin-O-Lux No. 2

Daylight

Mazda

Kin-O-Lux No. 3 . . .

Daylight

1.5

2.5

Mazda

1.5

Kin-O-Lux No. 3

Daylight

1.5

2.0

1.5

2.5

Gold Seal

Mazda

1.5

Note: All figures are approximate. Figures such as 2 . 2 may be considered as 2. and 1 . 25 as 1.50

(or 1J4)» and etc.

Polarization filter factors are constant with all emulsions, all makes of films, since

there is

no absorbtion of visible color involved in

their use.

lo aA ampliHer

• Continued from Page 412

HOME MOVIES FOR SEPTEMBER

PAGE 445

VICTOR MODEL 36

For the home and small auditorium. 8-10 watt out-
put 750 watt lamp, FI. 6 lens, etc.

SPECIAL

COMPLETE iPlOft.OU $295

VICTOR MODEL 40B

For large assembly rooms, auditoriums and the
home. 25-watt output, 750 watt lamp, FI. 5 lens, etc.

SPECIAL CO 14 Cn 5®'^

COMPLETE JpAlfl.OU $345

Time Payments Can Be Arranged.

Address all orders and inquiries to Dept. HM-9

rOTOSHOP, INC.

IS E. 42nd ST. • 136 W. 32nd ST.

NEW YORK CITY

VAP

YOU!

VAPORATE
Your Films

for permanent protection
against climate, scratches,
spots, stains, finger marks.

THROUGH YOUR
DEALER

NOW!

D^ate

Better photo finishers offer VAPORATE
protection for still negatives.

BELL & HOWELL CO., 1801 Larchmont, Chicago
716 No. La Brea, Hollywood

VAPORATE CO., Inc., 130 W. 46th St., N. Y. C.

COROKA VlT

BETTER BULK FILMS — Same price for 16mm or
Double 8mm.

Rapid'X Pan Super«pan Semi-ortho Semi-ortho
Anti-halo Anti-halo Anti-halo Clear-Base
100-80 24-16 12-4 12-4

100 ft $3.60 $3.15 $1.30 $1.20

400 ft. 12.95 11.60 4.25 4.00

Above prices do not Include processing.
Reversal Processing — Double 8 or 16mm — 100 ft.,
85c. 50 ft.. 65c. 25 ft., 50c.

READY TO MIX PROCESSING POWDERS— Half
gallon slKe; 1st developer; bleach; clearer; 2nd de-
veloper; hypo. ALL FOR $1.30.

Send for complete lists and FREE booklet on home
processing instructions, plans, formulae and supplies.
All Orders Shipped Postpaid Except C.O.D.

CORONA FILM LABORATORIES
200 East 34th Sb Brooklyn. N. V.

WESTERN MOVIE SU

Be Professional! Use

'li/edcoi-

FADETTE & FADE-O-MASK

Produces a rectangular fade-in or
out atony speed. Combination comes
complete with filter holder TC
and 8 popular masks. i mi

See your dealer or write for folder
PPLY CO., 254 Suiter St., San Francisco

HOW I KEEP
m CAMERA BUSY...

MOVIE-MAKING IDEAS FROM READERS

Movie Album

There’s not much incen-
tive in filming out of doors
in winter, so I devised an-
other means of keeping my
camera busy. I decided to
film a movie album — short
shckts of all my relatives
and my wife’s relations.

Each week-end we plan a
definite trip in order to
make pictures of some dis-
tant member of our fami-
lies. Since beginning this
undertaking, we have trav-
eled over 2000 miles by au-
tomobile and have used over
300 feet of 8 mm. film.

Incidentally, while on
these trips, we also encoun-
tered many interesting sub-
jects which provided film-
ing fare for our cameras.
As soon as our family film-
ing project is completed, we
plan to make a nature film
on the subject of “Spring,”
capturing this season of the
year in all its interesting
phases — farming activities,
road rebuilding, flowers
blooming, etc.

— R. S. Waite,
Peru, Indiana.

Employer Aids

I recently inaugurated a
novel plan to keep my cam-
era busy. At the company
where I’m employed as su-
pervisor I have begun a per-
sonnel activity involving a
contest for original stories
to be submitted by employ-
ees. The best plot is devel-
oped into a scenario by a
committee selected from
among employees of various
departments. Elections are
held, nominating a cast,
and shooting of the picture
follows.

The management is high-
ly cooperative — in fact, is
the “angel” of the show!

— Edward A. Lacz\o,
Warren, Ohio.

Film Titles

I keep my camera busy
by filming the most appro-
priate of the title back-
grounds which are pub-
lished each month in Home

Do you shoot a roll oY film,
then put your camera back
on the shelf indefinifely, or
do you keep active shooting
movies all the time?

For the best letter received
each month telling "How I
Keep My Camera Busy" the
editors will reward the con-
tributor with a roll of pan-
chromatic film; second best,
copy of either “Home Movie
Gadgets" or "How to Title
Home Movies" — both valu-
able books tor the movie
amateur: and third best, two
of the new "Steel-Flex" reels
(8mm or 16mm) and con-
tainers.

Address letters to Editor,
HOME MOVIES, 6060 Sun-
set Blvd., Hollywood, Calif

Movies. As soon as I re-
ceive the magazine I set up
my camera and shoot the
titles I want. When the
developed film has been re-
turned to me, I store the
titles away for future use,
cataloging them for ready
reference.

Of course, there are many
titles that I cannot use im-
mediately, but on more
than one occasion I have
been glad to find an appro-
priate title already filmed
and ready to be spliced on
my latest film.

I found it an economical
policy to film these titles in
advance, thus allowing the
remainder of the roll of film
for shooting scenes, etc. Al-
so, having such titles on
hand, ready filmed, often
provides incentive for film-
ing some subject or story.

— Edward Johnson,
Broo\lyn, 7^. T.

Film Fund

The lack of film and the
wherewithal to purchase it
is more often the real cause
of camera inactivity than
absence of plot or shooting
material.

In order to keep my cam-
era busy, I must have film.
Not just a roll now and
then whenever a few extra
dollars could be squeezed
from the family budget —
but a supply to be drawn
on whenever needed.

Being an ordinary salar-

SOUR ENUREERS

Manufactured by

0 I A I _ 223 ASadtson St.

BURKE & JAMESf Inc* Chicago, Illinois

8mm SLITTER

Slits perfectly 16mm width him to exact 8mm
width. Die cast body with hardened steel
cutting wheels. New price, each, $2.50

DEVELOPING RACKS

Stainless steel, take 30 feet 16mm or 8 mm
width him. Can be used in 11x14 or 8x10 flat
trays respectively. Complete with loading
stand each, $6.75. Specify type wanted.

At Your Dealer's or Direct

J. C. Haile & Sons

Motion Picture Dept.

215 Walnut Street Cincinnati, Ohio

MOVIE FILM

AMBASSADOR SPECIAL

lOO-Ff. !6mm. Daylight Loading

NON-HALATION

Includes Reversal Processing and
Return by Parcel Post.

•Also — Bulk 8 and 16mni.

WHITMAN CINE LAB.

479-A Quincy Street Brooklyn, N. Y.

Historic Mew Color Movie

Filmed in Washington

''BLOSSOM TIME

in the

NATION’S CAPITAL”

A beautiful movie of your nation's capi-
tal filmed in gorgeous natural color.
Includes shots of President at the egg-
rolling on the White House Lawn, Vice
President laying wreath on the Unknown
Soldier’s Tomb and the world renowned
Cherry Blossoms in full bloom. A historic
film you'll enjoy for many years to come.

$17.50

Send Check or Money Order Now

BYROH’S, Inc.

625 - 15th Street, N. W.

Washington. D. C.

The BIG BOOK That
Tells You All About
'PRIZE' Enlargements

Fine projection printing
equipment for the seri-
ous worker. Write Dept.
SP for FREE Enlarg-
ing Treatise.

New

Only $6.00

4 FILTERS and DUAL-SNAP SHADE TO MEET
ALL MOVIE FILTER NEEDS — both Kodachrome
and Black and White.

The new Harrison CINEKIT contains a special Aero
Lock Ulnc, a Dual-Snap Aluminum Sunshade, and the
following do luxe Durallne Filters:* No. 4 Red
(brings out clouds against grey-blue sky). No. 4
Green (gives detail In green foliage and grass). No.
4 G-V (darkens sky — gives contrast In snow scenes).
No. C-4 (corrects Indoor Color Film for daylight
□.se). Case Is of durable 5-oz. Klkhtdo, felt lined.

(•If desired, any filters specified will be substituted
for the above — more than 50 colors arc available to
choose from.)

Send for Free Illustrated Folder Today
HARRISON &. HARRISON. Optical Engineers
8351 Santa Monica Blvd. Hollywood. Calif.

CINE

KIT

PAGE 446

HOME MOViES FOR SEPTEMBER

NO MORE when this stock is sold!

★ GENUINE!

★ ORIGINAL!

★ IMPORTED!

^^chn

'a fortunate circum>^tan e made possible this
last shipment of imported. Genuine. Or.ginal
HYPER C.NOR WIDE ANGLE L..NSES
(there can be no more), famous for doubling
the an;ie wi.hotit loss of lens speed — focuses
2 feet to infill ty — for Kodachrome or black,
and white film. Fully guaranteed. Fits
Revere, Bell & Howell, Bolex, Keystone,
Emel, Univex and Eastman 60 or ‘.'O's.
This is jiositi- ely YOUR L-YSF CH.ANCE!

Send Check or Money Order

\JS FO*'
photo W
heeds', y ^

MXCMAtfCM

Lorgest Stock of Cameras and
Equipment Jn the .South

1003 PENNSYLVANIA AVE. N.W.; WASHINGTONv D. C

Ot'l . . .

ESO-C

\6f $1.30 per 25' dbl. 8mm roil)*
for those autumn home movies in
the popular sepia currently used
in many Hollywood productions. Your first roll will
show you ESO-C is the distinctive film for your out-
door movies.

Six other fine ESO-S films available for your movie-
making— our complete list is yours for the asking.
*Available jor single 8mm cameras on request.

At your dealer's, or order direct.

ESO-S PICTURES

“Quality 8mm Service”

3945 Central Street Kansas City, Missouri

( GARMUR
CABLE RELEASE
ADAPTOR

For smoother operation, greater film
economy, simpler manipulation of
single frame exposure action. Unit
easily attached and detached. lO-in. lock cable.
$2.00 models; Filmo Companion, Sportster, 141;
Eastman 20 ,25, 60; Revere; Keystone K8. See
your dealer or write

GARMUR PRODUCTS

P. O. 6073 Metropolitan Sta. Los Angeles, Calif.
Also: Mates Camera Supply Co., 5208 Wilshire
Blvd., Los Angeles, Calif.

THRIFTY FILM

Make Better Pictures at Less Cosi

THRIFTY ORTHOTYPE, for

outdoor shooting, non-halation,
fine grain, per 100-foot roll . . .

THRIFTY PANCHROMATIC—

Per 100-foot roll ^

THRIFTY SUPER-PANCHROMATIC $i|50

Per 100-foot roll ^

California Buyers include Sales Tax

THRIFTY FILMS

Drawer 98

Watts Station Los Angeles, Calif.

Kodachrame

MAPS C?fic«!tFINE TITLES

Geo. W, Colburn Laboratory

Special Motion Picture Printing

I I97A Merchandise Mart, Chicago

ied man, I found this hard
to do. So I borrowed an
idea from our grandmoth-
ers’ era — the old “sugar
bowl savings bank” — and
now lay away a definite
sum every week on payday

• Continued from Page 418

done in editing but much
valuable film can be saved
if the filmer is careful in
judging the amount of time
allotted to scenes when
shooting. Quick, snappy
cutting makes for better
movies. Just a few frames
too much takes the punch
out of an action shot. For
example, if we’re making a
shot of an athlete executing
a somersault, the result
will be more professional if
the shot is cut promptly as
the somersault is complet-
ed rather than to let the
camera continue running,
catching the athlete stand-
ing idly by or walking
away after completion of
his exhibition.

In any sequence where
action is quick and snappy,
the length of each shot
should be relatively brief
to accent the snappy tempo
desired in the sequence.
Conversely, where action is
slow, the desired tempo
may be maintained by rel-
atively lengthier shots.

As an example, suppose
we are filming a sequence
involving two old timers
playing checkers. Here
most of the shots should be
fairly long to enable an
audience to study the char-
acters and their m o v e -
ments, and to accent the
contemplation that pro-
ceeds each move on the
checkerboard.

Referring again to our
tennis players, movies of
them at play can be made
most effective by proper
timing. A shot of one of
the players hitting the ball
should be just long enough
to picture the action and
the next shot should show
the opponent receiving and
returning the-ball in simi-
lar brief action.

Much can be gained by
studying length of scenes
of pictures seen in theatres.
By counting the number of
seconds each scene remains
on the screen it will be

in my private “film fund.”
As sufficient money accu-
mulates, a roll of film is
purchased and if not need-
ed right away, is placed in
my camera case.

— Edward Brown,

Long Beach, Calif.

found that, as climatic ac-
tion is reached, some scenes
are as short as two seconds
each. Sometimes as little
as two frames too many in
a single shot is enough to
throw a sequence off bal-
ance.

One factor that most al-
ways determines the length
of a scene is the type of
shot — long, medium, or
closeup. Understandable is
the fact a long shot, be-
cause of the greater amount
of detail to be taken in by
the eye, must remain on
the screen longer than the
closeup which brings a sub-
ject right up close to the
audience.

So, two things must be
considered in determin-
ing the length of our shots ;
the tempo of the action
within the scene, and
whether the scene is to be
made in a long, medium or
closeup shot. And these
fundamentals apply to all
subjects that may be filmed
with a movie camera.

Jt’6 flew

to me . . .

• Continued from Page 408

Los Angeles, are Craig
Cinetints. Packaged s i x
bottles to the box, they will
retail at $3.00. The Tints
are described as crystal
clear dyes which are
claimed to insure perfect
transparency. Colors avail-
able are red, orange, pur-
ple, blue, amber and green.
Points emphasized in an-
nouncing the new product
are that they artistically
accentuate such effects as
moonlight, marine, flesh
tone, fire, etc. ; are service-
able for tinting black and
white titles and scenes to
splice in with Kodachrome.

It is advanced that the
use of Cinetints is simple,
inasmuch as they dissolve
quickly in water, after

For MOVIE

REELS

Safe, modern protection for your
reels. Keeps them clean and they
are easy to file and find.

MOVIE REEL FILE

Compartments for 9 metal reels
of 8 mm film. Size 8'/3x6%x5ya‘".
Index chart on inside cover.
Choice oF blue, green, red or
black binding.

At stores or sent
prepaid on 10-Days

Money - Back Trial.

Look
like
books,

Fit . .

Write for folder describing
these and other Amfiles for
Miniature Negatives. Flat
Negatives, Slides, Prints, etc.

AMBERG FILE & INDEX CO.

1613 Duane Boulevard Kankakee, Illinois

On Display, Photographic Dealers Show, Aug. IS, Chicago

NO W1

A High Quality
16mm Reversible

Outdoor Film
100-ft Roll $1.98

For Only ^

Rating Scheiner 18

A High Quality
8mm Reversible

Outdoor Film
25 ft. Double 8

For Only

Fast Service — Processing same day included.

Ask your dealer or send money direct.
Write for prices on developing and processing
your 8mm and 16mm films — even if you bought
them elsewhere.

Visual Instruction Supply Corp.

1757 Broadway Brooklyn, N. Y.

98'

Free 1941 Thalhammer Catalog

24 pages chock full of interesting
facts . . . Pictures of Thalhammer
tripods and accessories; this cata-
log can be yours by just writing
the THALHAMMER CO.. 4663 San
Fernando Road, Glendale, Calif,

16mm SOUND on Film

Recording Studio and Editing Facilities

BERNDT-MAURER RECORDER

GEO. W. COLBURN LABORATORY

II97-A Merchandise Mart CHICAGO

$1200.00

DeJUR

Get your contest blank at
your dealer's now, or write
to the Contest Manager.

Picture Contest Ends Sept. 30th

DeJUR-AMSCO CORPORATION

Shelton Connecticut

"THERE IS NO SUCH THING AS"
Dry-Brittle-Rainy Films — When Processed With

" V I T A F I L M ■'

It Solves Your Film Storage Problem
Trial 4 Oz. Bottle 50c to $6.00 per Gallon.
See your nearest Dealer, or order direct.

R. D. HANISH COMPANY

93 East Longview Ave. Columbus, Ohio

MACVAN MFC. COMPANY

3829 El Caion Blvd. San Diego, Calif.

Special camera and lens alterations and
effects. Photographic apparatus.

FINE MACHINE WORK

KNOW YOUR BIRDS

(

16 mm Color Film Showing Wild Bird Life

^FRIF^ *^obin \ / SERIES

\ / CHICKADEE

NO. 1 WOOD-THRUSH/ V NO. 2 NUTHATCH

)

A maslerhil new technique. Clear, brilliant natural colors and beautiful dwe
ups. Mr. Geo. B. Thorp, Pros. Audubon Soefety of Western Pa. sajrs. ■‘High
level of photographic artistry makes watching these pictures a pur# delight.
Write for complete information. r> ■ -

HEIDENKAMP NATURE PICTURES PITTSBURGH, PENN^

home movies for SEPTEMBER

PAGE 447

which it is merely neces-
sary to dip the film into the
solution in accordance
with instructions furnished
with each box.

x^erimen

• Continued from Page 427

support is a brass clip bent
to fit. Note that by fasten-
ing this clip with a round
head wood screw the head
of the screw engages the
thread on the projector lens
and makes possible a screw
adjustment for focusing.

The mirrors are glued to
small blocks of wood and
the blocks in turn glued in
place on the base for mir-
rors. A housing of light
wood, and about 10 inches
in length, is constructed to
make a 60 degree angle
with mirror base.

About 8 inches above
housing the ground glass
screen is installed.

The inside of the hous-
ing and the mirror base are
painted with flat black
paint. Be sure that all
edges of the aperture are
smooth or else the film may
be scratched. Also the
rollers for guiding the film
across the aperture should
fit the film otherwise the
film will shift causing the
image to move off the
screen.

The two photos show how
apparatus appears when
completely assembled The
diagram shows method of
arranging mirrors to pro-
duce upright projection.

The clip for holding pro-
jection lens is so designed
that projector may be in-
stantly removed.

— George F. Baer.

MSWERS TD
QUIZ OUESTIDXS

Here are

correct answers

to quizzeroo on page 434:

Question

1 b

2 - at 25 mark
on most lenses.

3 b

4 c

5 c

6 a

Hill

Backgrounds

By EDMUND TURNER

'SAiuRpiAy,

MORNiNQr/

"Vacation

PAGE 448

HOME MOVIES FOR SEPTEMB

UflUmiD • BDVmmD

^ Are you in the marhet

. . . for a camera, projector or some other article of
used cine equipment? Seeking bargains in films,
processing or titling? Then you'll find opportunities
in these classified adsl

O Have you somethiny to sell

... or trade — some article of cine equipment you've
outgrown or no longer use? Turn it into cash with a
Home Movies classified adl

EQUIPMENT FOR SALE

• BASS SAYS; Rare Items In Large Variety.

RARE LENSES

11/2" Kodak F:4.5 for Cine 60, $27.50.

3" Kodak F:4.5 for Cine Special, $30.00.

I" Cooke F;1.8, old style focusing mount,
$42.50.

I" Cooke F:l.8 focusing C mount, regular
style, $47.50.

\" Plasmat F:l.5, focusing A mount, $50.00.
3-%" Cooke F:3.3, focusing A or C mount,
$60.00.

4" Dallmeyer Telephoto F:3.5, focusing C
mount. $73.00.

3" Dallmeyer Triple Anastlgmat F2:9, focus-
ing C mount, $79.00.

15 mm. Meyer Macro Plasmat F:2.7, focusing
C mount, $57.50.

6" Cooke F:4.5, focusing C mount, $92.00.

6" Meyer Tele-Megor F:4, focusing C mount,
metric calibration, $95.00.

25 mm. Zeiss Biotar F:1.4, C mount, metric
calibration, $97.50.

USED CAMERAS

16 mm. Fllmo 75, Cooke F;3.5 lens, $30.00.

16 mm. Filmo 70A, Cooke F:3.5 lens and case,
$42.50.

16 mm. Filmo 121 Magazine, Cooke F:2.7 lens,
$52.50.

16 mm. DeVry turret front, 20 mm. F;3.5 \"
F:l.5 and 3" F:4.5 lenses. $87.50.

16 mm. Filmo 70DA, 15 mm. wide angle. I"
F;l.8 Cooke, 3" F:3.5 Wollensak and case,
brown finish, $215.00.

USED PROJECTORS

16 mm. Bell & Howell Filmo 57, 200 watt

bulb, case, $34.50.

16 mm. Bell & Howell Filmo 57, 250 watt

bulb, case, $42.50.

16 mm. Bell & Howell Filmo 57, 400 watt

bulb, case, $47.50.

16 mm. Bell & Howell Diplomat, 750 watt,

with case, $125.00.

SOUND ON FILM PROJECTORS
Bell & Howell Model 138, single case, 750
watt, with amplifier, $165.00.

Bell & Howell Model I20D, with amplifier. 750
watt bulb. $175.00.

Limited quantity: lllustravox Film Slide and
Disc Projector, for 110 volt current, com-
plete with screen, each $37.50.

In Stock: New Bolex 8 mm. or 16 mm., new
Movikon 8 mm. or 16 mm.. Bell & Howell
Auto Load Master turret models.

Auricon 16 mm. Recorders in stock, new
model $695.00.

Auricon Synchronous Motor for Cine Special,
$125.00.

Don't horse-trade until you write Bass first.
Free on request: 84-page Bass Cine Bargain-
gram, an authority for silent and sound
equipment.

BASS CAMERA COMPANY
Dept. HM, 179 W. Madison St.. Chicago, III.

• CAMERA MART USED BARGAINS— One of
a kind only.

8MM.

Filmo single 8, F3.5, $20.00; Filmo Companion,
F2.5, $45.00; Revere F3.5, $25.00. F2t5 $34.00;
Perfex Turret F2.5, $44.00; Kodak F3.5, $20.00,
F2.7, $29.50.

8MM. PROJECTORS

Kodascope model 80, 300w. case, $37.50; Key-
stone model R8, 300w., $29.00; Revere De Luxe
FI. 6 case, $60.00.

I6MM.

Filmo 75, Cooke F3.5, $30.00; Filmo 70A,
Cooke F3.5, $26.00; Filmo 70D, black, Cooke
FI.8 case, $115.00; Filmo 70DA, black. 1" F3.5,
2 filters, 1'' F3.5; "i" F4.5 Mayfair case, $165.00;
Cine Kodak B. F3.5, $19.00; FI. 9, $39.50; Sim-
plex Magazine FI. 9 case, $49.50; Cine Kodak
Magazine FI. 9, like new, case. $84.50; Cine
Kodak K. FI. 9 case, $52.50; Victor 3. F2.9. like
new. $49.50; Victor 5, FI. 5 case, $110.00.

16MM. PROJECTORS

Kodascope B. automatic threading, case,
$45.00; Filmo, 250w, case. $34.50; Filmo, 400w.
case, $49.50; Filmo, 750w. 1200 ft. arms. FI. 6
blimp case, $110; Victor 300w. case, $34.50; Vic-
tor, model 38, sound 25w. output, 2-12" speak-
ers, $350.00; Sound Kodascope special, 35w.
output, 2 speakers, cost $800.00, our price
guaranteed, $450.00; 20mm. FI. 5, $42.50; Wol-
lensak 1" F3.5, $38.00; Cooke 1" FI. 5, $75.00;
Dallmeyer I" F0.99, $39.50; Dallmeyer \" F2.9,
$25.00; Dallmeyer 2" F2.9, $38.00; Cooke 3%"
F3.5, $55.00; 78mm. Kodak F4.5, $30.00.

RCA SOUND Camera, 16mm. Studio model,
400 ft. magazine, complete ready to use,
$550.00.

WE ACCEPT TRADES— WE BUY
CAMERA MART. INC., 70 W. 45th St., N.Y.C.

• NEW 4" T.H.C. f/4.5 16mm. Foe. lens and
objective. Make offer H D HEROLD, 5069
Montezuma St., Los Angeles, Calif.

• WRITE NOW for our large lists of alt
types movie and still equipment. MOVIE
GADGETS, INC., 4726 Packard, Cudahy, Wise.

• R.C.A. 16mm. S.O.F. projector, complete
$147.00 R. C. A. sound camera, studio outfit,
complete, amplifier, etc., regularly $860.00,
like new $460.00. Filmo 16mm. turret $77.50.
Filmo 16mm. projector $49.00. Trades accept-
ed. Easy payments. Film library. MOGULL'S,
55 West 48th, New York.

• LIKE NEW Bell & Howell Showmaster pro-
jector, $140.00. H. E. DUNN, 562 Lawndale
Court, Holland, Michigan.

• NEW REVERE 8. Bolex 8 and 16mm. outfits,
lenses, screens, enlargers, other photo goods.
Reasonable! GLENN MISHLER. 'Warren, Ohio.

• LIKE NEW — f/t.4 12mm. Taylor-Hobson

Cooke in focusing mount for Filmo Sport
ster; can be adapted for turret, $85.00. JOHN
WARREN, 2251 Sedgwick Ave., Bronx, N. Y.

• CINE EASTMAN Special 16mm. with I"
f/1.9 lens, guaranteed perfect condition. Free
examination. Must sell, $290.00 cash. Write
to R. E. HESSEL, Rural Route 2, Urbana, 111.

• EDITING BOARD, including Neumade

16mm. rewinds, and Craig Sr, Splicer for use
with sound, silent films. Also B & H Model
57 projector converted to 400 watts, Including
case. Make offer. SMITH, c/o KMTR, Holly-
wood, Calif.

• CRYSTAL Beaded Screens: 30"x40" Box De-

Luxe. list $12.00, now $6.25. 36"x48", list $17.00,
now $9.00. 30"x40" Tripod, now $5.75. 36"x48"
Tripod, now $8.50. Roll up 36'"x48", $4.50. We
ship prepaid. ABBE FILMS, 1265-H Broadway,
N. Y.C.

• PAWNBROKERS since 1858. Specializing lib-
eral loans on cameras anywhere in United
States. Free information and appraisal. H.
STERN, 872 Sixth Ave., New York.

ACCESSORIES

• AUXILIARY Lens Kits— six supplementary
lenses of I6'\ 18”, 2(X', 24", 32" and 40"
focal lengths. Can be used on all titlers
which provide for interchange of lenses. Also
ideal for general close-up photography. Com-
plete kit, $3.00. Separate lenses, 60c each.
Also available in 6", 8", and 10" focal lengths
^or ultra-closeup work. HOLLYWOOD CINE
PRODUCTS CO., 3221 So. Figueroa St.. Los
Angeles, Calif.

MOVIE CLUBS

Order One of These Handsome Binders
For Your Issues of HOME MOVIES

Holds twelve issues ol
the "new" HOME
MOVIES magazine,
each of which may be
easily Inserted or re-
moved. Insures against
loss and mutilation of
pages. A welcome ad-
dition for your club
library.

Postpaid

HOME MOVIES

6060 Sunset Boulevard Hollywood, California

SOUND EQUIPMENT

• DUAL TURNTABLE, 78 Rev. complete with
amplifier, horn and microphone used only
short time, will sacrifice for only $60.00. Als
can furnish dual turntables for broadcasttn
into your radio set. Recorders with Amplific
from $60.00 up cutting at either 33-1/3 or y
revs. Blank records for recording. At radi
and camera headquarters— SUMNER RADIO
3307 W. 54th St., Los Angeles, Calif.

FILMS

• SPECIAL! 25' 8/8 mm. film. Weston 12
non-halation, daylight loading, including proc-
essing. 85c. RITTER FILM SERVICE, 62^
Lyman Ave., Oak Park, III.

• BULK FILM — Positive in plain, lavender,
yellow, amber — 400 Ft. 8/8 or 16, $3.85, IOC
Ft. $1.00. Weston 24-16 Pan. N.H., 400 Ft
8/8 or 16, $11.65, 100 Ft. $3.20. Weston 64-
40 Pan N.H., 400 Ft. 8/8 or 16. $12.65, IOC
Ft. $3.60. Cameras, projectors, accessories.
R. B. CAMERA & PHOTO SUPPLY CO.. 3357
E. 66th St., Cleveland, Ohio.

• 8mm - !6mm Bulk films; movie and still
cameras, projectors, accessories. Castle, Nu-
Art, Exclusive film library. Join our Movie
A Month Club. AIRLINE PHOTO SUPPLY,
Box 1739, Cleveland, Ohio.

PROCESSING SERVICE

• MOTION picture processing. 100' 16 mm.,
75c; 50' 16 mm., 50c; 25' 8/8 mm., 35c’ 25'
8 mm., 25c. RITTER FILM SERVICE.' 629
Lyman Ave.. Oak Park, III.

FILM RELEASES

• "ROMANTIC EGYPT" — stirring scenes of
the Nile; the scorching desert; Temple of
Luxor; Colossi of Memmon; temple of Karnak;'
tomb of King Tut; the Pyramids; Cairo; where
east meets west. A picture that will hold you
spellbound with ancient glories of the Orient.
16mm. sound, with entrancing concert orches-
tra accompaniment. One reel, $32. Silent, $24.
8mm. one reel, $12.00. GERDEN PICTURES.'
729 Seventh Ave, New York. Write for lists.li

• EXCHANGE 100 feet 16mm. 25c. 400 feet,
50c and postage. 180 feet 8mm. 50c. Bargain!
lists 5c, deductable from first order. HOFF-!
MAN FILM EXCHANGE, 57 Broad St., Al-
bany, N. Y. I

• 8-16-35mm. silent, sound films bought, sold,'
exchanged. Complete subjects, $2.00 up. Odd!
reels, $1.50. Arts. Catalog, three end titles,:
lOc INTERNATIONAL, 2120 Strauss, Brook-
lyn, N. Y.

• 8mm. FILMS! Castle releases, 50 ft., 180
ft., new prints, good used prints. Sales, ex-
changes, trade-ins. RIEDEL FILMS, Dept.
HM-941, 2221 W. 67th St., Cleveland, Ohio.

• HOLLYWOOD productions galore! Hun-

dreds to choose from! Bulk film. Bargain lists
yours for the asking. ERWINE'S CINE LAB-
ORATORIES, Allentown. Pa.

• ADULT FILMS, 8-16 mm. (not arts). Over
100 subjects! Lists, lens cloth, lOc. No post
cards answered. JENKINS. 392, Elmira, N.Y.

• SOUND and Silent Films exchanged, bought, bf
sold, rented. Bargains always. New Free lists. ifll
FRANK LANE, 5 Little Bldg., Boston. Mass.

MISCELLANEOUS

• DUPLICATION, 8 and 16mm., 3c per foot,
minimum 50'. Information on request. NORTH
AMERICAN CINE LABORATORIES, 3636
Haynle, Dallas, Texas.

• OFFICIAL "Press Cards" in your name,
$1.00; Auto "Press" signs, $1.00. PRESS SUP-
PLIES, 1934 nth, Washington, D. C.

BOOKS

• Are you a "beginner" in the ranks of ama-
teur movie makers? Would you like to know
how to use your camera to the very best ad-
vantage, yet avoid the mistakes and wasted
film that so often results from lack of knowl-
edge of fundamentals of cine camera opera-
tion? Then order a copy of "How to Use a
Movie Camera." Just 50c, and well worth it.

W'ould you like to learn how to make your
own titles — what equipment to use — what ex-
posure to use — all about auxiliary lenses — title
areas, etc.? Woud you like complete plans for
building a very simple and versatile home
movie titler? Then send for "How to Title
Home Movies" — the latest and one of the
most authentic books ever written on the sub-
ject. Price $1.00 per copy. We pay the postage.

VER HALEN PUBLICATIONS
6060 Sunset Blvd. • Hollywood. Calif

mm.

;,i ORDER FOR SUBSCRIPTION

ome Movies Magazine

12 MONTHS FOR $2.00 IN U. S.

In Canada, $3.00; Foreign — $3.00
SPECIAL OFFER: 3 Years for $5.00 in fha U. S.

^ u MOVIES

‘ iMsst Blvd. ^

mi, Calif.

ID New

State

□ Renewal □ Gift

to..

r drill ...

^ City State

□ New □ Renewal □ Gift

Enclosed find $ Date _I9..

Sent in by

Address

J City State

, jlO SUBSCRIPTIONS ACCEPTED FOR LESS THAN ONE YEAR

^oln

now . ,

The HEEL FELLOWS

Sponsored exclusively by Home Movies Magazine, the REEL FELLOWS is a friendly,
chummy, coast-to-coast organization of movie amateurs v/hose purpose is to further the
pleasure of amateur movie making and to encourage a vrider and more beneficial contact
among amateurs.

If you shoot 8mm or 16mm movies, or if you are interested in any of the aspects of
amateur movie making, you are invited to become a member of the REEL FELLOWS.
SI. 00 membership fee is so low no amateur can afford not to join. Initial membership
fee is all you pay.

Wear your REEL FELLOWS pin to identify you v/herever you gol Upon receipt of
your membership application, you will receive membership card, gold pin, and insignia
for your camera. Be the first in your community to join! Fill out the REEL FEILLOWS mem-
bership application belov/ and send it in immediately! Write regarding charter for REEL
FELLOWS clubs.

DETACH HERE

MEMBERSHIP APPUCATIQN
THE REEL FELLOWS

REEL FELLOV/S
c o Home Movies
6060 Sunset Boulevard
Hollyv/ood, Calii.

I am enclosing $1.00 membership fee. for v/hich please enroll me as a member of the REEL FELLOV/S and send me mem-
bership card, gold pin, and camera insignia.

I have been shooting movies 'length of time;

My equipment is; 6mm

Nome

Address

City

Stale

16mm

★

E ASTM A N KODAK CO M PA N Y

r ROCHESTER, N. Y.

JUST two film cartons. But what a
world of picture pleasure they
represent.

Movies and stills — in full color — that's the photo-
graphic program of more and more and more picture
makers these days. Movies to keep the story going. Stills
to stress the highlights. All in color ... in Kodachrome
. . . in sparkling screen pictures.

Fun? You bet.

Expensive? Not a bit.

You've got half the equipment now — a movie camera
and projector — 8-mm. or 16-mm. What you need is a
35-mm. or Bantam still camera. A Kodaslide projector.

That's all — and this equipment need not cost you
much. For many good cameras — not expensive ones,
mind you — take wonderful color pictures. All good pro-
jectors— and again the cost can be markedly low; —
show sparkling screen pictures. The film's the thing!
Kodachrome Film.

Expose it as easily as you do black and white, "snaps"
or movies. Send it off to an Eastman processing station
where it's finished without extra charge* and returned
postpaid. Show it in your living room . . . with color

movies carrying the thread of your story . . . and color
stills accenting the high spots. Both on the same screen.
Each augmenting the other. Picture partners.

The two free booklets below tell the full story, show
the equipment. Your dealer has them for you. . .has the
equipment and the color pictures to show you, too.

*A11 still Kodachrome 828 and 135, when exposed in 28-mm. by 40-mm. and 24-mm.
by 36-mm. picture sizes, respectively, is returned in the form of individual Kodaslides
ready for projection, unless otherwise specified by the customer.

Oswald Rabbit Cartoon

Films are Tops!^^

You can take our word for itl Spice up your home movie
programs with on Oswald animated cartoon. Build a library
of these highly entertaining films — then when family movies
are shown, spring a surprise with a screening of a real pro-
fessionally produced cartoon picture.

57 SUBJECTS IN ALL !

Oswald Rabbit cartoon films are available in both 8mm and
16mm widths in lengths from 25 to 100 feet. Prices range
from 75c for 25 ft. 8mm reels, to $3.00 for the 100 ft. 16mm
subjects.

Ask your dealer to screen these cartoon films for you today!

Meany, Miny S. Mde

THOSE THREE HILARIOUS MONKEYS!

No home movie library is complete without
on© or more of these rollicking animated car-
toons. 24 different and complete reels give
the amateur a wide selection in either 8mm or
16mm width. One of the newest is "Ship-
wrecked," No. 1209-A — available in 100 ft.
16mm at $3.00, or in 50 ft. 8mm lengths at
$1.50.

F R E E 1 Latest catalogs of 8mm and 16mm film subjects. Write today.

HDLLYWDDD FILM ENTERPRISES, me

6060 SUNSET BOULEVARD

HOLLYWOOD, CALIF.

OCT

iVISORV EDITORS

K. K. BAUMGARDNER

Peoria Cinema Club

, BEZEK

Chicago Cinema Club

MES BIALSON

jnateur Motion Picture Club of St. Louis

bSS BROWN

Dallas Cinema Club

IrER BRACKEN

iThe 8-16 Movie Club, Philadelphia, Pa.

^!DE W. A. CADAREHE

Los Angeles 8mm Cii^b

IMERSON CLYMA

Detroit Society of Cinematographers

l':LL A. DIXON

Pittsburgh Amateur Cinema Club

. DVORAK

Suburban Amateur Movie Club

UR E. GIBBS

Portland Cine Club ;

iA. HOOK

Seattle 8mm Club

lED F. KAUFMAN

Indianapolis Amateur Movie Club

(NESTELL

Cinemen Club

fciSSE A. PELLETIER

Toronto Amateur Movie Club

|RT B. PETERSON

Metropolitan Cine Club

It RIEBETH

Minneapolis Cine Club

|IEO. ROTH

Sherman Clay Movie Club

ROUNTREE

Bay Empire 8mm Movie Club

UL SNYDER

Norfolk Amateur Movie Club

E. SNYDER

Des Moines Y.M.C.A. Movie Club

SISSEL

Austin Movie Club

ENION SMITH

Metro Movie Club of Chicago

as Second-Class Matter, May &, If38, at
office at Los Angeles, Calif.f-' under the
Act of March 3, 1879.
fion rates: U. S. $2.00 per year. Canada
^eign Countries, $3.00 per year. Single
Sc. Canadian and Foreign single copies
'Pyright, 1940, by Ver Halen Publications.
IMverfising rates on application.

-9 mi

©CIB

517790

^ . /ome—

MOVIES

Reg. V. S. Pal. Off.

Member Audit Bureau of Circulations

CONTENTS FOR OCTOBER, 1941

• "Sandlot Hero" — Read about filming football movies
on page 467.

ITS NEW TO ME — By Cinebug Shopper 454

THE READER SPEAKS 462

HOW I KEEP MY CAMERA BUSY 464

PATTERN FOR A WINNING FOOTBALL MOVIE — By Curtis Randall 467

MOVIE OF THE MONTH — By J. H. Schoen 468

WHAT A WHALE OF A DIFFERENCE CLOSEUPS MAKE/ —

By Russell Dic\son 469

KNOW YOUR FILMS AND WHAT THEY WILL DO —

By 'William J. Bornmann 470

FULL PAGE TITLE BACKGROUND — By Jose TablO 471

A NEW IDEA FOR ANIMATED MOVIES — By Bud Fairfax.... 472

amateur’s GADGET CORRECTS PARALLAX — By Robert E. Broc\ 474

FULL PAGE TITLE BACKGROUND — By George F. Jac\son..... 475

AN ECONOMY ANGLE IN TITLING KODACHROME —

By George W. Cushman 476

REVIEWS AND CRITICISMS OF READERS’ FILMS — By The Editors 477

EXPERIMENTAL CINE WORKSHOP 482

EMULSION RATING CHART FOR FILMS 490

TITLE TROUBLES — By George W. Cushm.an 493

INFORMATION PLEASE 495

ONE REEL MOVIES 497

WITH THE REEL FELLOWS 498

TITLE BACKGROUNDS 499

EDUCATIONAL AND DOCUMENTARY FILMS SECTION

HOW TO MAKE PUBLIC RELATIONS FILMS EFFECTIVE —

By Godfrey Elliott 478

DOCUMENTARY FILMS GAINING FAVOR — By George Eddoc\ 479

NEW CLASSROOM FILMS — By Godfrey Elliott 480

ADULT LEARNING THEME OF SCHOOL-MADE FILM —

By Anthony L. Cope 481

OCTOBER

NUMBER 10

VOLUME VI 1 1 X

REEL FELLOWS

A friendly fraternity of
movie amateurs sponsored
by Home Movies maga-
zine. Your membership is.
invited.

CHAS. J. Ver HALEN

C. J. Ver HALEN, JR.

ARTHUR E. GAVIN

PUBLISHER

ASSOCIATE PUBLISHER

EDITOR

OFFICE OF PUBLICATION

6060 Sunset Boulevard, Los Angeles, Calif.
Phone GRanite 5149

NEW YORK OFFICE
Everett Gellert, 62 West 45th Street
Vanderbilt 6-5254

GEORGE W. CUSHMAN

J. H. SCHOEN
Associate Editors

C. E. BELL
Photographic Editor

HOLLYWOOD'S MAGAZINE FOR THE AMATEUR

PAGE 454

STROBOSOUND

The newest thing for movies . . !

Plays records up to 16” fully syn-
chronized with your projector at
either 33 1-3 or 78 R. P.M’s. . . .

Now you con play narrative and musical recordings fully
synchronized with your pictures with STROBOSOUND turn-
tables. Connects directly to your radio which acts as amplifier
and speaker. Built-in stroboscopes on dual turntables assures
instant check-up and adjustment of speed with aid of built-in
neon lamps.

Your projector is also synchronized with STROBOSOUND by
means of a stroboscope, thus insuring constant speed of both
during projection of pictures.

Price Complete

$149.50

Junior Model. Same features as above
except has single turntable..

$98-50

All Prices F.O.B. San Francisco

Arthnr H. Hart

2125 - 32nd Ave. Son Francisco, Calif.

HOME MOVIES FOR OCTOBE

J/iNEWfo

• •

Bj/ CiNEBUG Shopper

Cartoons in Color ^ greater than unexpose

color film, Castle Films bring t
home movie projector owners for the first time a serie
of animated cartoon films in color. First releases in th J

series include : “ Jac

Frost,” “Aladdin’s Lamp,
“Mary’s Little Lamb,
“The King and the Tailor,
“Old Mother Hubbard, j
and “The Pincushion Man. |
With most of the cartool
films currently screened i j
theatres being in color, i
was only natural that mo
vie amateurs should clamo
for color cartoon films fo
showing with their horn
movie projectors. Castl
Films heeded the demand
made the special arrange
ments necessary with th
producer, and color car
toons for home movi

shows became a reality.

The above films are available in 16mm. in 100-ft
lengths at $8.00, full one-reel length at $23.50, and th(
one-reel subjects with sound are available at $33.50 pei
reel. In the 8mm. film size, the 50-foot reel is available
at $4.00 and the full length reel at $12.50. All six cartooi
subjects are also available in black and white at regulai
Castle Film prices.

The big Castle motion picture release of the month foi
home projectors is “Wild Elephant Round-up” said to b(
the most amazing wild animal picture ever filmed. It
pictures a white man and 20 natives stalking a giant here
of African elephants; engaging in titanic struggle with
the monster and hogtying him with ropes ; much of this
filmed in closeups. This subject is available in both 8mm.
and 16mm. at usual Castle prices from dealers or Castle
Films, R. C. A. Bldg., New York, N. Y.

Steel Heels resisting properties of the Bond-

erizing Process has prompted Bell & Howell
to adopt this finish for their complete line of steel reels
for 8mm. and 16mm. projectors. With the recent intro-
duction of the 400-foot
8mm. reel and the
2000-foot 16mm. reels,
the B. & H. line of
rustproof steel reels is
now complete, making
available reels from
200-foot 8mm. to 2000-
foot 16mm.

Further informa-
tion and prices avail-
able from Bell & Howell Company, 1801 Larchmont Ave.,
Chicago, 111.

IVn-Art “Featurettes’

In addition to its series of “Fire-
side Films” Nu-Art Films, Inc.,
145 West 45th Street, New York, has commenced releas-
ing two additional series of one-reel productions.

The Nu-Art “Musical Classics” and “Screen Traveler”
series like the “Fireside Films,” have already been splen-
didly received, and are ideally suited for showings in
churches, colleges, institutions, homes, etc., being educa-
tional as well as entertaining.

40ME MOVIES FOR OCTORER

PAGE 455

MORE GREAT NEW CASTLE FILMS:

COSTS LESS THAN UNEXPOSED FILM !

“LAND OF THE INCAS —Living chronicle of ancient
glories! Majestic Andes. Inscrutable inheritors of a
golden past. Strange scenes you'll cherish for a life-
time!

^ “THE CHIMP’S ADVENTURE" —A new experience in
S'®/ movie mirth. A jungle chimpanzee visits the big cit>\
He's puzzled. Baffled. Enraged! A rib-tickling com-
edy for the whole family!

TWO GREAT FUN CARTOONS

“JACK FROST" —Delightful whimsy of the bear cub
w'ho refuses to hibernate. Great fun for all!

P “ALADDIN’S LAMP”-A rollicking new version of
^ the old legend. Mirthful entertainment for young
and old.

NOW! CARTOONS IN COLOR!

SEE PAGE 457 OF THIS MAGAZINE! ^

Most amazing wild animal picture ever filmed!
See a white man and 20 natives stalk a giant herd
of savage African elephants , . . engage in titanic
struggle with a huge tusker . . . hogtie him with
ropes! Here’s suspense! Daring! Reckless cour-
age! Brute strength against human skill! Filmed
in close-up! Don’t miss it! It’s a Castle Film you’ll
never forget! Own it today!

NOW ON SALE AT YOUR PHOTO DEALER

8 mm. SIZE

1 6 mm. SIZE

LOW

Headline 50 ft. $1.75

Headline 100 ft. $2.75

CUSH

Complete 360 ft. $8.75

Complete 180 ft. $5.50

Sound 350 ft. $17.50

City.

_State_

Name

CASTLE FILMS

RCA Bldg.

New York

Field Bldg.
Chicago

Russ Bldg.
San Francisco

FREE.' NEW 1942 catalogue! It's out! It's

yours! It's free! Thrillingly illustrated. Lists 100 different
Castle films. Fill out coupon and mail for your copy now!

/V A10W£Cff^7W/S/

miD EumiiT ROuiiHr

PAGE 456

AMERICA’ V

UTSTANDIM6

splicer

for 8 8m„

NEW IMPROVED

Seemann splicer

Your films are only as strong
as their weakest splice."

The new SEEMANN Splicer gives you
these exclusive features:

1. Tension pins hold film taut, simplify
8mm splicing and insure accuracy.

2. 8mm film fits register pins regardless
of how it comes off reel. No need to
reverse or turn it over.

3. Dry scraper — most practical emulsion
remover, especially for Kodachrome.

4. Single operation pressure

- ' oar for fast and permanent

splices.

5. Cement bottle anchored in
^ base . . . cannot be upset.

6. Mounted on hardwood base.

PRICE, only $3.95

DEMAND Seemann EDITING EQUIPMENT!

THE Seemann
TITLER

Makes all types of
typewritten or hand-
lettered titles, includ-
ing scroll and rolling.
Adjustable to fit all
8 or 16mm cameras.

With reflectors ..$9.95
Without 6.95

THE NEW Seemann EDITEER

Seerrann Optical
FILMVIEWER

May be used in con-
junction with any
make film splicer and
rewinds. Illuminates
and magnifies either
8 or 16mm film while
rewinding. Complete
with lamp and cord,
$4.95.

ON SALE AT ALL LEADING DEALERS •WRITE FOR FREE LITERATURE

■‘QUAUry PHOTO ITEMS
AT BUDGET PRICES”

6628 SANTA MONICA BLVD., HOLLYWOOD • 86 THIRD ST., SAN FRANCISCO

The Right
Companion

TO INSURE

SITISFACTORY
COLOR

yNESTOH^fladt^

Why do you see so many WESTON Masters
being used for color work? It’s because the
Master has been designed to give you the same
simple exacting control of color as it does for
black and white.

Note the “A” and “C” positions on the
Master’s exclusive exposure dial. The space
between represents a safe working latitude for
present day color film. All colors whose reflected
brightness measurements fall between those po-

sitions, will reproduce in true color. By simple
dial manipulation, therefore, you can control
your results . . . and be sure of satisfactory
color every time!

But it takes many such outstanding features
to explain the Master’s widespread popularity.
Your dealer will be glad to demonstrate them
to you. Visi^him today, or write for the com-
plete story. Weston Electrical Instrument Corp.,
585 Frelinghuysen Avenue, Newark, N. J.

Weston 'Migu

HOME MOVIES FOR OCTOBEl'l

J/i II I W

Rlnw Ttnish blows as it brushes as it cleans!” ij
that’s the story of the new Gem doub ^
purpose Camel-Air Bru
now being marketed f
cleaning lenses and fi'
apertures of cine camei
and projectors.

A fine camel hair bru I:
is attached to a rubbj'
blower bulb. The blowj
roots out small particlj
that cannot be seen wi'i
the naked eye, and t
brush whisks them awi
This novel accessory se
for only $1.00. Write t
Weimet Co., 112 W. 44 is.
St., N. Y. C.

Bolex Iris Vignetter

There has been a demand fb
years for an iris vignetter th |
really closed down completely; of rugged construct! j
and which could be easily operated. Paillard has pi!
duced that vignetter and it i

is illustrated here. After
the iris closes, a special
arm drops into place over
the last point of light and
completely blacks out the
circle. This Paillard Vig-
netter is made especially
for the Leitz Hektor Rapid
27mm. f/1.4 lens and may
be adapted to all other 1"
lenses for use on all cam-
eras. As a means of mak-
ing fades and special vig-
nette effects, this accessory
is very satisfactory. Cam-
eras having back-winding
mechanism provide means
for making very satisfac-
tory lap-dissolves with this
totally closing iris vignetter. Price $10.00 for Leitz lei
and $1.50 extra for adapters for other lenses with screi
in mounts to fit Bolex, Filmo, Victor and Keystone 16mi
cameras.

For further information write to American Bolex C(
155 East 44th St., New York City.

Titles for Slides Film titling service is no long
confined to amateur movie makei
according to an announcement just received from Bell
Howell. “Good titles will add just as much interest to

show of projected st
pictures,” says B & 1
“as they do to a mov
show, and we are no
prepared to furnish oi
entire selection of ’
Title-Craft backgrouni
on Slidetitles.”

The announcemei
states further that tl
Slidetitles furnished c
35mm. film in 2"xi
standard cardboard mounts, are available in two two-toi
combinations for use with color transparencies: gree
with gold overtones and gold letters or brown with gol
overtones and gold letters. Prices begin at 25c per titl
on photographic backgrounds at 35c per title.

For further information, write the Bell & Howell Con
pany, 1801 Larchmont Ave., Chicago, 111.

COST NO MORE THAN
UNEXPOSED COLOR FILM!

6 GREAT SUBJECTS

Ready for you now !

IHOME movies for OCTOBER PAGE 457

Yes! It’s true! Castle Films now bring you —
for the first time in home movie history — fun
cartoons in gorgeous color 1 Never before have
you had opportunity to obtain films like these !
They’re professionally-made — Hollywood-pro-
duced. Every one an exciting, action-packed
laugh provoker ! Your movie collection will be
incomplete unless you own these unique color
cartoons !

SEE YOUR PHOTO DEALER TODAY!

All Castle 16 mm. films are processed by Vap-O-rate.

All 8 mm. Castle films also are treated.

'JACK FROST" "THE KING AND THE TAILOR"
'ALADDIN’S LAMP" "OLD MOTHER HUBBARD"
'MARY’S LITTLE LAMB" "THE PINCUSHION MAN"

LOW COST FOR COLOR

16 mm. SIZE

too ft.
$8.00

Full Length
$23.50

With Sound
$33.50

8 mm. SIZE

soft. $4.00

Full Length $12.50

Thest films also avallabla In black and white at regular Castle prices.

Colored Illustrated booklet on color cartoons. Also
g new 1942 catalogue, describing 100 different films!

Send for booklet and catalogue now!

Address

Nearest

Office

CASTLE FILMS

RCA Building Field Building Russ Building
New York Chicago San Francisco

Please send illustrated booklet on color cartoons. Also your
new 1942 Castle Films’ Catalogue.

H.ame

_ - - H.M. 10

PAGE 458

ght'Col"

Indoors!

PAYLIGHT

blue

Vodachiome qual-

lequlai ^ifhtlae d ^ ^git\oo^

bulbs a*®

ity bgW iloodllqbwg ^p-

■Ibese new

»“'“'“"7„a..«'“’'fp,.y<>»>

COTP-

Detachable Swivel Socket

HANDIEST

FLOODLIGHT!

• Just screw Wabash Reflector Superflood into any
convenient light socket, turn the switch— and start
shooting sparklingly clear home movies! Built-in,
"sealed-silver" reflector floods your subject with
highly actinic photographic light. Swivel socket
holds light where you want it. See your dealer.

MANOFACTORf'*

SOPERflASH ANo

supere!52H

9 Doubles width of field covered!

9 Screws in front of regular lens — no
interchanging necessary!

G Has precise focusing adjustment —
from 2 ft. to infinity!

The Mack WIDE ANGLE Auxiliary Lens is designed
to overcome the inherent limitation of field com-
mon to all 8mm cameras. It covers twice the width
or four times the area included by regular (ens,
permitting the taking of WIDE ANGLE "shots" as
used by major Hollywood studios to give the
"punch" and realism desired.

Manufactured of highest qual-
ity optica] glass, optically
ground and corrected for col-
or. Available for all standard
8mm lens from F 1.3 to F 3.5.

LIST

PRICE.

JIJOI L Field covered by Mack
WIDE ANGLE lens.

rr I u i-. rsn\rlji:.

See the Mack WIDE ANGLE Auxiliary Lens at your
dealer or write for FREE illustrated FOLDER TODAY!

HOME MOVIES FOR OCTOBE'

Jr. NEW

Clutch Rewinds

Incorporating a feature long wante
in home movie film rewinds, are thoj
recently placed on the market by Franklin Photograph]
Industries. Feature consists of clutch arrangement whic

permits thro win
one or both rewinc
out of gear for idlin
operation. Handle
similar to that oi
some Cine Kodaks i‘
that it folds con
pletely into base c
rewind when not i
use. Substantial!
constructed with m?
chine cut gears thg
are exposed for eas
lubrication, these r<
winds are available in pairs at $4.50 or singly at $2.2f
from the manufacturer at 223 W. Erie St., Chicago, o
from most photo dealers.

Donald Duck Cartoons

One outstanding release o
the several Donald Duck am
mated cartoon films available for 8mm. and 16mm.
jectors, is “The Smoke Eater.” Fire Chief Donald,
by Mickey Mouse and
Goofey, respond to a
fire alarm. The trio be-
come tangled in the fire-
hose, resulting in many
laughable incidents.

This picture, as are
all Walt Disney cartoon
films available in sub-
standard film sizes, are
reductions from origi-
nal pictures which have
played to hysterical audiences in the nation’s theatres i
Prices vary according to length of film subject, usuall;
available in both 8rnm, and 16mm. in lengths from 25 t(
100 feet. '

“The Smoke Eater” is priced at $3.00 for the 100-ft
16mm. reel, and $1.50 for the 50-ft. 8mm. reel. Usualblj
available from leading photographic and cine equipmen
supply stores, these films are distributed by Hollywood'
Film Enterprises, 6060 Sunset Blvd., Hollywood, Calif

p . Prepared especially for quick, permanen
rilDl LeoiBOt splicing of 8mm. and 16mm, film, is th'
recently announced Cinea Film Cement. The cement if
said to be odorless and is put up in a glass container o-

advanced “pyramid '
design which lessen,
possibility of oyern
turning bottle durin;
splicing operations.

Another feature i'
the glass applicator
supplanting the usua
brush, and this ii
firmly attached t
the moderate-s i z e <
plastic cap w h i c 1
closes bottle securely i
preventing evaporation. Cinea Film Cement is the prod-;
uct of The American Bolex Co., 155 East 44th St., N. Y
City.

HT I T'ti Something new in movie titles are th(
Ivovel lltlBS “personalized” animated cartoon titles for
introducing your home movies on the screen. Animation

^ME MOVIES FOR OCTOBER

nsists of a projectionist
caricature, loading pro-
tor with film. A view of
: screen shows picture
i ing i n t r o d u c e d by the
ict: “(Your Name) Pro-
ctions Presents” or
Your Name) Presents.”
Titles available in black
d white or in purple haze
jilt for Kodachrome pic-
res in either 8mm. or
mm. Price is $1.00 per
lie. Write Cine Shop,
|l2 Piedmont, Charleston,
Va.

lylight Superfloods

To meet the critical re-
irements of color photo-
aphy, the Wabash Photo-
m p Corporation, of
jiooklyn, N. Y., has an-
anced three new Day-
ht Blue Superflood Pho-
amps, identified as Nos.
B2 and B4.

[These new bulbs are made
I a natural daylight blue
ier-glass which acts as its
jn self-filter to bring out
i! color spectrum of the
[jilt to approximate natur-
daylight, thus eliminat-

I: the need for correction
iers when taking indoor
ior pictures with regular

Ij)fessional daylight type
idachrome film,
phe natural daylight-blue
:','jss of the bulb has been
! jkde frosted to produce a
lii|t diffused type of light
’^yt is recommended espe-
lly for all applications
ere artificial light is re-
tired to supplement day-
Ijit and for softer shadows
i both black and white,
jH in color.

oortbeams”

■'’hree new “Sportbeam”
1; IS are now ready for re-
l^j?e covering the subjects
W football, auto racing,
hunting. The Knute
I)|bkne Series consists of
separate single-reel
|is which picture the
ys the famous Notre
me coach used to revolu-
iiize football.

ISpeedway”, second film
)he series pictures racing
aijlindianapolis Speedway,
Ip’opean Auto racing, and
Ci iiaxed by thrilling scenes
'Midget auto racing.

A Man, A Dog, and A
I” is title of third
►ortbeam” film picturing
fi birds and hunting dogs
«i ction. All “Sportbeam”

PAGE 459

Providing, in one instrument, the ability to take
care of both 8mm and 16mm films . . .

Every motion picture projector must be complemented with
film winders to facilitate splicing and editing. Producers of
8mm and l6mm films soon learn that anything that holds and
turns a projection reel will not do. Yes, siree, bub! It takes more
than gears, shaft and handle to make a winder. Experienced
amateurs know this — many to their sorrow! Twould have
been better to buy good winders in the beginning than to have
had priceless film spun all over the floor where it was scratched
and covered with dirt or perhaps caught in gears and mutilated.
Too much free-wheeling, too many exposed gears and not
enough CONTROL are features which editors of home movies
swear at and not by in too many winders.

..IMS/* 30

, t to U** Marked'-
Th. '"•‘s'jk.r .»

To! bo*

pins an i . .

fitting , precision

' - bold the "f tbe opet^'

cnteiV.^^'^ d tbrougbo^^ cbanisms

Not so with the American Bolex Tension Control
Winders. With these, you can spin your film in rewind-
ing just as fast as you want to and still control it so you
can take hands off everything and your film will stay
right where it belongs.

Not necessary with American Bolex to turn the take-up
Winder with one hand and sprag the feed-reel with the
other. An adjustable drag, controlled by a touch of the
finger, takes care of this for you and you can apply the
desired tension right where you want it! And, you will
not have "winder’s cramp” using the American Bolex. A
beautiful, and properly designed red catalin handle, gen-
erous in size, makes using these Winders a pleasure.
Your thumb and forefinger give you a grip which is firm
and will not slip. All precision gears are enclosed and
due to life-time self-lubricating bearings in the American
Bolex Winders, they are never lubricated so they can’t
ruin film with surplus oil. Housing is metal die-casting,
plated black (not painted). Metal parts chromed with

red catalin handle. Their precise advanced construction
places them miles out in front in the winder branch of
the photographic industry. It can truly be said that
editing is made easier and becomes a fascinating part
of your hobby with the American Bolex Winders.

And, you will be proud of these beautiful accessories!
Nothing, absolutely nothing, in all your equipment
possesses the "eye appeal" of the American Bolex Winders.
They handle both 8mm and l6mm film and lock the
reels on so they cannot come off until you release them.
The Winders illustrated will take 800' reels of l6mm
film and 2000' reels with auxiliary bases. Price without
bases $6.00 each, $12.00 per pair; 2000' bases, $2.50
per pair. (10% higher west of Rocky Mountains).

Go to your dealers and demand American Bolex
W inders for this winter’s editing if you want the best.
If he has not yet stocked them, send your order to us.
We will ship promptly.

AMERICAN BOLEX COMPANY, INC., 155 E. 44th SI, NEW YORK

Coast Representative: FRANK A. EMMET CO., 2707 W. Pico Street, Los Angeles, California

PAGE 460

HOME MOVIES FOR OCTOBER

CRAIG PROJECTO-EDITOR

8mm model, as illustrated above, complete with

Splicer. Rewind and Film Cement $30.50

8mm Projecto-Editor alone 22.50

16mm model with Sr. Splicer and Sr. Rewinds.. 52.50
Write for NEW FREE FOLDER OF CRAIG EDITING NEEDS

mam

£ INTO YOUff SIACX AND WHiff AI0Vf(5

CRAIG CINETINT
DYE KIT

Ideal for artistically ac-
centuating such desired
effects as Moonlight,
Marine, FleshTone, Fire,
etc.- or for tinting black
and white titles used
v/ith Kodachrome. Dyes
are crystal-clear, insur-
ing perfect transpar-
ency. Colors are Red,
Orange, Purple, Blue,
Amber, Green . . . S3. 00

CRAIG FOTOFADE
and FOTOFADE KIT

For joining odd scenes
vnth smooth FADES or
WIPES — dissolves one
into the other without
abrupt loss ol continu-
ity. Easy g-nd quick to
use. COMPLETE IN-
STRUCTIONS IN-
CLUDED. ONLY SI. 00.

Kit of waterproof wipe-off
tape. FOTOFADE and in-
slructions S1.60

Mcukei, a Pleaiitfie

CRAIG MOVIE SUPPLY CO

1053 SOUTH OUVf STREIT,
LOS ANGELES

1109 E. MADISON ST.
SEATTLE

149 NEW MONTGOMERY STREET,
SAN FRANCISCO

WHY-

PIN-BACK

LETTERS?

This is a question any titling movie

camera owner can answer.

PIN-BACKS allow an ease and speed in
titling not possible with other methods.

Once the title is set ... it stays set. This PIN-BACK feature plus the pro-
fessional design of the Mitten letter have made it one of the most popular
titling letters for the past eight years. Pin Letter Sets are priced from $5.50 up.
Yes, we also have SANDED BACK LETTERS used with an adhesive . . . sets
are priced from $4.75 up.

Carried by Leading Photographic Supply Dealers
Over the Entire United States

WRITE FOR FOLDER

MITTEN*S DISPLAY LETTERS Redlands, California

Jn HEW

films are available in either 8mm. or 16mm. in two sizes,
silent; one size 16mm. sound. Further information may
be had from the distributor, Official Films, 330 West
42nd St., N. Y. City.

Exposure Calculator

Now being built into the Filmo
Auto Load, Speedster and Auto
Master magazine loading line of cameras produced by
Bell & Howell Co., is a new Exposure Calculator. The

guide, it is said, com-
pensates for film
emulsion speed, filter
factor and camera
operating speed in
addition to the ex-
ternal factors gov-
erning exposure,
brilliance of sunlight,
type of scene, season
and time of day.

Though complete
in coverage of all de-
tails, B & H officials claim the new calculator is easy to
use. A single turn of dial gives direct readings for Koda-
chrome film at normal camera speed. Additional com-
pensating adjustments are made one at a time and prop-
er F stop is indicated at each move.

Further information available from Bell & Howell Co.,
Chicago, HI., or any photo dealer.

Heel Shipping Cases With safety to film and contain-
er an important consideration
when shipping one’s film by mail or express to distant
points, amateurs will find interest in the line of durable
Fiberbilt shipping cases which are available in a number
of sizes. An outstanding feature is the patented address-
card holder which is securely fastened to each Fiberbilt
case. Addressed cards are simply inserted in holder and
locked in place. Postage space is provided. Cards are
readily removed for replacement with new ones when film
is again to be shipped. Heavy straps with durable buckles
are attached to each case which provide the means for
keeping case tied together during shipment, thus elimi-
nating necessity for wrapping, twine, or adhesive tapes.

Fiberbilt cases are available for 400, 800, 1200, and
1600 foot reels from Fiberbilt Case Co., New York City.

Film Catalog Just off the press is new 1941-42 sound
film catalog listing all films available
from Lewis Film Service. This company nas just ob-
tained national distribution rights tor such features as
“Flying Deuces,” starring Laurel & Hardy supported by
Jean Parker and Reginald Gardiner. This is the first
time 16mm. prints have been released featuring these
popular players.

Copies of catalog are available without charge by writ-
ing Lewis Film Service, 216 East First St., Wichita,
Kansas.

New ScrBED -^^'^^o^^cement has been made by Radiant
Manufacturing Corp., 1140-6 W. Superior
Street, Chicago, makers of Radiant “Hy-Flect” Projec-
tion Screens, of their entrance on September 1st into the
educational field. In their enlarged line. Radiant Manu-
facturing Corp. is now offering a new auditorium screen,
a classroom model, and a complete line of wall and ceiling
type screens in all sizes up to 12 feet by 12 feet.

YOUR SCREEN

Has the "FINAL SAY"

on PICTURE QUALITY

The DA-LITE CHALLENGER

America's Most Popular Screen, can be set up any-
where in 15 seconds. It is the only screen that can be
adjusted in height by simply releasing a spring lock
and raising the extension support. No thumb screws
to tighten. The Challenger is the only screen with
SQUARE tubing In both the center rod of tripod and
extension support to keep the screen surface in perfect
alignment. Compare the Challenger and you will see
why it is the most convenient of all portable screens.
12 sizes from 30 " x 40 " to 70 " x 94 " from $12.50* up.

The DA-LITE MODEL B

A hanging wall-type screen. Just the thing for your
game or projection room. Glass-Beaded fabric is
spring-roller-mounted in a metal case. 12 sizes, includ-
ing square sizes, from $6.50* up.

^Prices slightly higher on Pacific Coast.

OUR camera takes the picture. Your projector projects ii.
* But it is your SCREEN that has the “final say” about how bril-
liant, clear and enjoyable your movies or stills will be. . . . For
perfect projection, you need the superior light reflective qualities of
Da-Lite's specially processed Glass-Beaded Screen surface. This
famous screen fabric, the result of Da-Lite's 32 years of screen man-
ufacturing experience, reflects maximum light (without sparkle or
glare) for all practical viewing angles. The light is reflected evenly
from the entire screen area, so as to make details sharp in every-
part of the screen image. The extra light that is reflected by
Da-Lite's Glass-Beaded fabric is on added advantage in showing
color films, which is more dense than black and white and requires
more illumination to bring out the full brilliance of its colors. You
may obtain Da-Lite's Glass-Beaded fabric in the size and style of
mounting that exactly fits your needs. See Da-Lite Screens at your
dealer's todayl Write for new illustrated literature!

DA-LITE SCREEN COMPANY, Inc.

DEPT. 10-HM

2723 NO. CRAWFORD AVE.,

CHICAGO, ILLINOIS

The Da-Lite Model B Screen

The DA-LITE VERSATOL

leads in the low price field. The 30”x40"
size can be used as (I) a tripod screen, (2)
a hanging wall screen, or (3) as a table
model. Price $7.50*. The 40” x 40” size
can be used in two ways — as a tripod
screen and as a hanging screen. Price
$10.00*.

USED AS A TABLE MODEL

USED AS A HANGING SCREEN

USED AS A TRIPOD
SCREEN

PAGE 462

HOME MOVIES FOR OCTOBER

' Make your ^

MOVIES

GET G-E

PHOTOFLOODS

• You’ll find it much easier to get
crisp, clear movies . . . the kind that
sing . . . with G-E MAZDA Photo-
flood lamps. They give you plenty
of light for movies that you’ll be
proud to show to everybody ! These
are the same high -efficiency type
lamps the big movie studios use,
made to fit your needs. Try them in
your home. Two popular sizes to fit
most needs. No. 1 — 15c list. No.
2— 30c. As an extra light or away
from home try G-E No. R2, 85c list.

A SIZE FOR EVERY NEED !

GENERAL^ELECTRIC

MAZDA PHOTO LAMPS

The Reader

Wants Film

Perhaps some reader has
made just such a film as
the following letter re-
quests; perhaps some may
know of a film profession-
ally produced or other'wise
that would fill the hill. If
yoti do, write Mr. West.

Gentlemen: If you know
of a 16mm. film that I could
buy and use for the purpose
of advertising a fire insur-
ance agency, I should very
greatly appreciate it if you
would let me know about it.

—A, S. West,

1017 Main St.,
Cincinnati, Ohio.

Insurance

We thought almost every
movie amateur w-as famil-
iar with the low cost insur-
ance available for movie
cameras, projectors and
other cine equipment. Al-
most every insurance agen-
cy will write a policy on
one’s personal photographic
equipment at the low prem-
ium rate of 2% with a min-
imum charge of $5.00. This
means insurance on any
equipment valued up to
$250.00 can he had for a
premium of $5.00 per year.

Dear Sirs : Recently I

had camera and equipment
valued at $240 stolen. In re-
counting my sad experience
to friends, they invariably
said something like this:
“Didn’t you have it in-
sured?’’ or, “My, my, in-
surance is so inexpensive,
too.”

As a matter of fact I was
quite “insurance - minded”
some time ago, but evident-
ly I made inquiry of the
wrong insurance man be-
cause I was informed that
the cost was prohibitive. So
I’m going to drop the whole
matter right in your lap
and ask : Why don’t you tell
us these things?

— J. A. Cox.

Wind BacjMnr Filmn

If any cinebug has suc-
cessfully built and installed
in his Filmo “8” a ivind-
hack and frame counter,
we as well as reader Mc-

Cracken will appreciate
hearing about it.

Gentlemen : Do you have
any data on building a
windback and frame coun-
ter for the Bell & Howell
8mm. Filmo ? Has such
data ever been published in
Home Movies.? If not,
would you publish a request
for such data in an early
issue of your magazine?
This information will be
greatly appreciated by the
members of our club as the
majority use this camera.

— J. O. McCrac\en
Glendale. Calif.

Swappers

H ere’ s opportunity to
stvap odd scenes or footage
or to film scenes to order
for other amateurs:

Gentlemen: I would like
to exchange features, car-
toons or unexposed 100 ft.
reels of Kodachrome for
scenes in Florida- — prefer-
ably in Kodachrome. I am
especially anxious to secure
footage of turpentine har-
vesting, sugar cane grind-
ing with a “one mule-
power” mill, and other typ-
ical rural subjects.

— Theo. Fisher,

% SS Benjamin Brewster,
Box 551, Baton Rouge, La.

Dear Sirs : This may ap-
pear a peculiar request,
however I wish to get a
medium length shot in
16mm. Kodachrome of an
Indian squaw nursing her
papoose to complete a film
I made last season at the
Calgary Stampede Grounds
in Alberta, Canada. This
shot can be of any tribe of
Indians, but I would prefer
it to be of the Blackfeet.
I’ll buy the film outright or
exchange any scenes of in-
terest in Michigan.

- — E. J. McCreery
812 East Main St.,
Lansing, Mich.

Sirs : I would like to
swap some 8mm. Koda-
chrome of central Kansas
scenery for equal 8mm.
Kodachrome footage of
Hawaii, Mexico, or South
America picturing scenery
and rural life in those

• Continued on Page 494

"THIRD-DIMENSIONAL"

VIEWER

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FOR 35 MM Slides
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Attractive, sturdy

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Quick action zipper,
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ures 8" X 10” X 3”

Adjustable

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Mail Orders Filled

S’

Revere spindles are inspected with nriicrometer
gauges and must not vary more than .0025 of an inch.

Accurate

» speeds of the
synchronizing the

is determined
stroboscope.

Revere

shutter

To eliminate vil
the armature n

PRECISION - BUILT THROUGHOUT

THEyRE

TO HIGHEST STANDARD OF QUALITY. . . .

and are easy to operate

All of the hundreds of different ports which go
into Revere 8mm. Equipment must meet rigid
specifications os to accuracy, durability and
other characteristics. Careful inspection of
every step in the process of manufacturing and
final tests of the finished instruments safeguard
Revere's high standard of quality. Tolerances
for some of the parts are held to .00025 of an
inch. Because of Revere's precise construction,
owners of Revere 8mm Cine Equipment enjoy
brighter and steadier movies, easier operation,
greater convenience, and many extra years of
trouble-free performance. Ask your dealer for
Revere "Eight" Cameras and Projectors! Write
for new literature. Revere Camera Company,
Dept. 10-HM, 320 E. 21st St., Chicago, 111.

REVERE MODEL 88 CAMERA

Take gorgeous color movies wlkh easily threaded
operated Revere Model 88 Camera. It has many ac
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mechanism. Complete with Wollensak
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with Bausch and Lomb 12.7 mm F 3 lens,

$37.50; other lenses also available.

REVERE MODEL 80 PROJECTOR

— The greatest projector value of the en-
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REVERE 85 PROJECTOR
HAS EXTRA FEATURES

REVERE
TURRET
CAMERA 99

has a built-in positive lens-aligning

turret head for 3 screw-type lenses and an extra optical
for telephoto lenses. Provides for Instant change of I
Mechanical features are the same as in the Model 88.
with one Wollensak 12.5mm F 2.5 lens

sensitive

vice, duo-shield
light diffuser, and

PAGE 464

HOME MOVIES FOR OCTOBER

Show Your Prized Pictures

on a

Screen

New AUTOMATIC model
instantly ready for use.

1. Touch a convenient lever — the
tripod legs slide into position and
lock there automatically.

2. Merely turn the screen case — auto-
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3. An effortless pull — automatically
your screen locks into viewing posi-
tion— at ANY height, 17 to 50
inches from the floor.

Famnus “Hy-FIect” Screen Surface Gives
them Brilliant Clearness

See your pictures as the originals looked when you took them — sharp —
clear — sparkling. Only Radiant's "Hy-Flect" screen surface can show them
that way. Every tiny glass bead — embedded by the exclusive Radiant
process in crystal clear plastic — not only gives greater brilliance, but gives
it permanently.

There is no other screen like the new Radiant Automatic in ease of opera-
tion. No set screws — no spring plungers. It locks automatically into positive,
perfect alignment without swing or twist. Screen surface always flat — will
not curl at edges, sag or wrinkle. Give your pictures the projection they
deserve! Get the new Radiant Automatic now! See^it' at your dealers.

MAIVUFACTUHIIVG CD.

1 140-6 WEST SUPERIOR STREET. CHICAGO. ILLINOIS

HOW I KEEP
MY CAMERA BUSY...

MOVIE-MAKING IDEAS FROM READERS

Constant Companion

Worthwhile shots, when
they are projected on the
screen, are the ultimate
goal of every amateur mo-
vie picture photographer.
But, unless he’s lucky, he
won’t have those pictures
if he just points his camera
and shoots in much the
same way he uses the hose
to spray the lawn.

I keep my camera busy
by making it my constant
companion and planning
my shots. I continually
keep in mind anywhere
from one to a dozen shots
I want to make. When one
comes in view, I have my
camera with me, and I
get it.

Presently I’m working
on a film, title of which
eventually will be “You
Oughta Been There!’’ It’s
a combined vacation-docu-
mentary idea. It has no
continuity. Yet sub-titles
for the spot-shots (though
they may take me months
to make) will give it con-
tinuity. For instance,
there is the time I had my
wife inspect some cactus
plants and she hollered . . .
“Rattlesnakes!’’ You can
imagine the action I got as
she fled her prosaic inspect-
ing like lightning.

Also I have in the mak-
ing a reel which will be en-
titled “Nature Studies.” All
shots are of wild life : birds,
animals, insects and flow-
ers. For this, I often em-
ploy a telephoto lens and
sometimes extension tubes
which I prefer to an auxili-
ary lens. With explanatory
titles and using color film,
I anticipate this will be a
four-star feature.

Other than these every
day shots, I plan one inte-
rior story for each winter
and one (mostly outdoors)
for each summer. In each,
I strive for original ideas
and rely upon my editing
ability plus the best sub-
titles I can think up to give
them the punch that will

Do you shoot a roll of film,
then put your camera back
on the shelf indefinitely, or
do you keep active shooting
movies all the time?

For the best lefter received
each month telling "How I
Keep My Camera Busy" the
editors will reward the con-
tributor with a roll of pan-
chromatic film; second best,
copy of either "Home Movie
Gadgets" or "How to Title
Home Movies" — both valu-
able books for fhe movie
amateur: and third best, two
of the new "Steel-Flex" reels
(8mm or 16mm) and con-
tainers.

Address letters to Editor,
HOME MOVIES, 6060 Sun-
set Blvd., Hollywood, Calif.

make fine home movie en-
tertainment.

— L. J. Whiteman,
Clovis, J^ew Mexico.

Camera Scout

I am a scoutmaster and
I keep my movie camera
busy by constantly taking
pictures of my scouts in
their various activities. My
camera accompanies them
on all their hikes and ral-
lies, good turns or what-^
ever else they might do. In
this way we have a pictor-
ial report of our year’s ac-
tivities. We then show
these films at our annual
Parents’ Meeting. The
scouts get a big kick out of
seeing themselves on the
screen and this sort of
stimulates the attendance
at all of our activities.

For many years the big
headache for the troop of-
ficers was to secure the per-
mission of all parents to let
their boys go out on over-
night hikes. Well the last
time we went we made a
movie of everything that
the boys did from the mo-
ment they left home until
the time they returned. A
few days later we invited
all parents to a screening
of the films in order that
they might see just what
their sons do and how they
are guarded and taught to

• Continued on Page 497

HOME MOVIES FOR OCTOBER

PAGE 465

, . Kinrtt ROCKNE MVOUmOHlZB

^ THE WORLD'S MOST DANGEROUS SPORT

rOOTBAlL

, ‘tt’

NEW FALL HOME MOVIE SPORTBEAMS

8 mm. by Official Films 16 mm.

See your photographic dealer
today for these films. If he is
unable to supply you, use
coupon on the right.

Send (or FREE 1341-42 llluetrited Catalogue
ol over 50 Films.

KNUTE ROCKNE SERIES

See the plays that Rockne used to revolutionize football-
explained by Rockne himself! Watch brilliant players plunging and twisting and
passing for never-to-be-forgotten touchdowns— as the master of football strategy
pulls one surprise after another from his endless bag of tricks! These are films that
are as informative as they are exciting. College coaches use them to teach their
players "The Rockne Way”!

Official Films Knute Rockne Series are made in 16MM. Sound Only

1. THE LAST YARD 4. FLYING FEET

2. THE HIDDEN BALL 5. TWO MINUTES TO GO

3. TOUCHDOWN 6. BACKFIELD ACES

EACH OF THE ABOVE KNUTE ROCKNE SERIES, APPROX. 350 FT.— $17.50 EACH

SPEEDWAY

[Watch Racing Drivers churn around the Indianapolis Speedway at a
suicide pace— facing death every moment, and meeting it, too frequently! Cars
skidding right in front of you— cars out of control, hurtling over and over. See,
too, the champion drivers of Europe, road racing in France and England and
Monte Carlo. And then, the newest craze of all— the Midget Auto Races— with
their full-size thrills and chills! This is a movie that "moves”!

A MAN, A DOG, & A GUN

A fleet bird wings through the air— a well-aimed shot

rings out— and the bird plummets to earth! Then a champion bird-dog goes
into action! Keenest of animals, magnificently trained, he races out to retrieve
the game! And from this point on, you see a demonstration of almost human
intelligence! For these dogs have practically been taught to think, (you see
just how they are trained) and they handle game with the finesse of a debu-
tante lifting her fork. All the thrills of hunting — minus the wet feet!

PRICES OF "SPEEDWAY” AND “A MAN, A DOG, & A GUN”:

8 MM.

SHORT- app. 50 ft $1.75

FEATURE -app. 180 ft $5.50

16 MM.

SHORT -app. 100 ft $2.75

FEATURE -app. 360 ft $9.75

SOUND -app. 350 ft $17.50

~~ ~~ ~~ ~~ ~~ ^^0 W. 42nd St.. N- T-

OFFICIAL FILMS the following film*-

Please send me, postage j.etiRth ?ric^

Official Films

330 WEST 42ND STREET, NEW YORK, N. Y.

□ SenaC.O^D. 1941-42 lUustra^dO^l^®:^^

□ Please send me

PAGE 466

HOME MOVIES FOR OCTOBER

First All China Exhibition, 1939
P. P. A. 7th Int. Salon, 1940
Milwaukee 7th Int. Salon, 1940
Vancouver 1st Int. Salon, 1940
Wilkes-Barre 2nd Int, Salon, 1940
Amateur Photographic Competition,
London, 2nd prize, 1939
Boston Nature Int. Salon, 1940
Framis W^u says . . . "A// my exhU
hition and competition ivorks arc
enlarged through a 5 inch f4.5
Wollensak enlarging lensJ* Improve
your photography with a W ollensak.

"Portrait of An Old Woman,"
taken in China by Francis Wu,
A.R.P.S., of Hong Kong, China,
has hung in:

8th Detroit Int. Salon, 1939
Photographic Society of America,
1940 Int. Salon
London Salon, 1939
Iowa State Fair Int. Salon, 1940
Paris 34th Int. Salon, 1939
Victorian Int. Salon, 1939
Germany Int. Salon, 1939
Amsterdam Int. Salon, 1939

Canadian 6th Int. Salon, 1939
Jugoslavia 7th Int. Salon, 1939
Spain 15th Int. Salon, 1939
Marshall Field 3rd Int, Salon, 1939
Fifth prize in Camera-Craft
Monthly Competition, 1939
Roll of Honor in Springfield Int.
Salon, 1940

Rochester 5th Int. Salon, 1940
2nd Springfield Int. Salon, 1940
5th Des Moines Int. Salon, 1940
Norfolk 3rd Int. Salon, 1940
Wilmington 7th Int. Salon, 1940

[ MOVIES

Published In Hollywood
October 1941

ill

|ll

ii’

LOT of football movies have been filmed
by amateurs in recent years — some good, some
bad. And with this fact in mind, the serious cine-
filmer looking forward to shooting gridiron tilts
this autumn will naturally give a little thought
to what it takes to make a good football picture —
something more than just a montage of shots of
two teams scrambling between goal posts.

Possibly you’ve seen such movies yourself — prob-
ably you’ve even made them, and are determined
on a “re-make” this year with an eye to improv-
ing entertainment quality. If so, then this is for
you. But even if your present plans call for just
a few shots from the grandstand, listen in anyway
— maybe you’ll find a few ideas you can use.

A football game — and here we refer to the
complete event from buying the tickets to fight-
ing your way home in the post-game traffic — a
football game offers one of the greatest opportun-
ities for the amateur filmer to make a movie with
entertainment value that will endure beyond the
customary span of many other home movie sub-
jects. How successful it will be depends upon ad-
vance planning — and planning it takes, just like
building a house, laying out a garden, or dis-
tributing the proceeds of your paycheck so you’ll
still have enough left over to buy a roll of film.

Gregor from Monkmeyer

• •

or Cl winning

FOOTBHIL

A pre-game huddle

aimed

to improve continuity . . .

By CURTIS RANDALL

The first thing to remember is that twenty-two
players on a field don’t make a football game — at
least on a movie screen. Even the newsreels
have, intercut, an occasional shot of cheering
crowds or the score board. Actually, the contin-
uity of your football movie begins long before the
kickoff. You’ll want to lead up to the climax of
thrilling shots of play with a build-up composed
of atmospheric scenes. So you’ll begin your movie
with shots of spectators moving toward the sta-
dium— in motor cars, busses, or afoot. You’ll show
closeups of some of them with blankets or top-
coats under arm, buying programs, “mums” or
perhaps a souvenir from one of the sidewalk
hawkers. In a series of short shots, you’ll take
your spectators to the ticket window, the turnstile
at the gate, and then pick them up again as they
struggle up the grandstand and into their seats.
In other words, your camera will record the event

• Continued on Page 491

• Football filming defi-
nitely calls for a tele-
photo lens if you are to
get vivid closeup studies
of players and specta-
tors. Properly filmed in
sequences of long, me-
dium, and closeup shots,
your gridiron movie can
be a winner.

467 i!

HOME MOVIES FOR OCTOBER

By J. H. SCHOEN

“A

\ EAR in the making ... !” is a startling
bit of press-agentry often used to herald the
premier of some big Hollywood production. Fre- '
quently some home movie requires an equal ^
length of production time before it reaches the
screen. But here’s an amateur movie- — not an
epic, but one of the most fascinating amateur-
made pictures ever filmed — that was two years in
the making! We refer to “Cock and Bull Stories,”
a swell little 8mm. film that takes its place as
the Movie of the Month without a dissenting vote, i

Here is a picture that had its origin in the I
filming of a brief fifty-foot roll of Kodachrome —
the filmer’s first cinefilming effort. It pictured ;
the hunting down and capture of a brace of wild
bob cats in the Malibu mountains back of Holly-
wood. So well was it filmed and so interesting
did the subject prove to those privileged to see it
on the screen, its maker decided to do something
more than merely catalog it as one of his first I
rolls of film and put it on the shelf for an occas- j
sional showing to friends dropping in for a visit. !

And right about here we should mention that
J. 0. McCracken of Glendale, California, is the '
movie amateur who produced this picture which
runs 300 feet in length. Enthused with his in-
itial movie effort, McCracken visualized other
short skits appropriate for filming and soon had
a synopsis of each down on paper. A family dis- '
cussion of the planned filming project brought
forth additional ideas which ultimately became
the movie described here.

“Cock and Bull Stories” concerns a group of |
children — playmates gathered together one Sat-
urday afternoon — who pool their meager finances
for a wiener bake. While roasting the wieners '
down by the river, a hungry tramp happens along
and muscles in on the kids’ party. By spinning
yarns, he holds the children fascinated, all the
while eating their wieners and buns! Of course
when the food gives out, the stories end, and the

• Continued on Page 484

® Pictured here are enlargements from the
original 8mm. Kodachrome picture, "Cock
and Bull Stories," one of the most fasci-
nating home movies ever made which takes
its place as the Movie of the Month for
October. J. O. McCracken, a department
store display artist of Glendale, California,
is the producer.

Cl Wi

liaie

difference

/]LlL of us, I’m sure, have had the experience,
sometime or other, of walking through an unusu-
ally pretty flower garden where a myriad of
blooms greeted the eye in a rhapsody of color. At
first sight we stopped to take in the multicolored
panorama; then we probably proceeded in a sys-
tematic tour of the garden, examining and study-
ing the blooms at close range. We wanted a close-
up view of the flowers so we moved nearer —
brought our eyes within a few inches of the
blooms that we might study their detail better.

A good movie cameraist would do precisely the
same thing in filming the subject. After shooting
a general view of the scene, he would capture a
detailed study of each variety in a vivid closeup
that would fill the screen from border to border.

Many amateurs have failed to appreciate the
value of the closeup until they filmed flowers in
color. But the effect of such closeups on the
screen has led them to a wider use of the closeup
in filming other subjects. The tenn “closeup”
seems to puzzle some movie amateurs, perhaps
because there can be no set dimensions for such
a shot. In simple language, a closeup is just what
the term implies — a view of a person or subject
at close range. Just how close, of course, depends
upon the subject itself. A closeup of a person
would include just the head and possibly the
shoulders and would be filmed from a distance of
five or six feet. On the other hand, to picture a
flower at this distance would result in what is
termed a medium shot. To shoot a closeup of the
flower would require setting the camera within
eight or ten inches of the bloom.

UOUUPS

• •

They’re Important
movie regardless of

to any
subject.

By RUSSELL DICKSON

A closeup, then, might be defined simply as a
picture of just a part of a subject when that part
fills the whole frame and there is nothing else in
the picture. There are exceptions, of course, as
when closeups of small objects such as insects,
etc., fill the screen.

• Continued on Page 489

Howard Severson

• Ultra closeups are
essential to good flower
garden movies. Closeup
shots of individual
blooms bring out de-
tail as we would search
it out were we to ex-
amine the flower in our
garden. The effect on
the screen is thrilling.

469

d what tL

• •

Knowledge of each type
essential for best results

• Subject of photos
on this page — a Koda-
chrome transparency —
' was purposely photo-

graphed on three differ-
I ent emulsions — pan-

chromatic, orthochroma-
tic, and positive — to il-
lustrate different results
obtained with each.

By WI LLIAM J. BORNMANN

ilLTHOUGH color continues to capture the
fancy of more and more movie amateurs, the de-
mand for black and white film has not been
materially lessened. While there are many who
prefer, for varying reasons, to continue shooting
for the most part with black and white film, many
who prefer color will revert to a roll of black and
white occasionally.

As serious amateur filmers apply their origi-
nality and technical abilities to ever widening
and specialized fields of motion picture photog-
raphy, the use of black and white film of different
emulsion characteristics gains wider use. And
these filmers have come to know, through extend-
ed use and testing, the characteristics in each of
the three black and white film emulsions — pan-
chromatic, orthochromatic, and positive.

It is therefore incumbent upon all amateurs
whose filming will continue more or less with use
of black and white, to soak up a little knowledge
of emulsion characteristics so they may know how

each type may properly be used for maximum
photographic results.

A little elementary, perhaps, but first let us
consider the physical properties of amateur mo-
tion picture film. They are:

1. A safety base to support the emulsion. This
is composed of cellulose nitrate, a slow-
burning but non-inflammable safety film.

2. An antihalation coating is next put on the
base. In some films it is on the back. This
tends to prevent halation effect in bright
areas in the film image.

3. The sensitizing agent or emulsion.

4. A special gelatinous layer on back of the film
to compensate for shrinkage of the emul-
sion. This also prevents excessive curling.

5. On some films a thin transparent overcoat-
ing of gelatin is applied to the emulsion to
prevent abrasion and scratches.

The chief chemical factor that differentiates
different types of black and white is their color
sensitivity. The color sensitivity of a film defines
the degree of photographic response to the va-
rious coto’s.

The colors of the spectrum in the order they
appear are: ultra violet (invisible), violet, blue,
green, yellow, orange, red, and infra-red (invis-
ible) . The human eye is sensitive to all the colors
of the spectrum except the ultra-violet and the
infra-red. However, this is not true of all photo-
graphic film. As a matter of fact, plain silver bro-
mide, the sensitizing agent in all photographic
emulsions, is sensitive only to the blue end of the
spectrum. Some films have dyes incorporated in
their emulsion which makes them sensitive to
other colors of the spectrum.

The color sensitivity of a film is gauged and
plotted in laboratories by means of wedge spec-
trograms. These wedge spectrograms are pre-
pared by exposing a section of film to a light
spectrum through a neutral density wedge, wedg-

• Continued on Page 486

Cuban Sunset on opposite page was
photographed near Havana by Jose
Tabio. Movie amateurs will see In it.
In addition to its beauty and fine
composition, an excellent pictorial
background for a main title.

470

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HOME MOVIES FOR OCTOBER

— with which to experiment. Probably
you never thought of using a cut-out joint-
ed figure as a subject for an animated
movie, but actually they’re far easier to
work with than mechanical or jointed toys.

Why not try? On the opposite page are
all the assorted parts necessary to put to-
gether a jointed figure — you’re animated
star ! Also illustrated, is your “star” com-
pletely assembled, showing just where
each member of the figure goes, and an
outline design for the gown which you or
sister or mother may fashion for her.

There are two ways in which to build
this figure. You can paste the opposite
page carefully over a sheet of heavy card
or mat board and cut out the various
pieces — head, arms, etc., — with a razor
blade, or — if you wish to shoot your pic-
ture in Kodachrome — you can, by using a
sheet of carbon paper beneath the page,
transfer the drawings to a sheet of flesh-
tinted mat board and then cut out the
pieces. The various pieces are joined to-
gether by using small brass paper clips.
Holes for the clips may be punched with
a sharp tool like an ice pick.

But before assembly begins, there are
some specific instructions to follow regard-
ing the figure’s gown. Part of it must be

I ' !

^ />/• (i fl I ID II I E D MOVIES...

An indoor filming subject
to keep your camera busy

B y

U D

R F A X

• Above sketch shows
method of filming
marionette placed on
panel of glass with
back ground beneath.
Chart below shows suc-
cessive steps in move-
ment of marionette as
a guide in moving arms,
legs, etc.

HY not pretend you’re a modern Galatea?
Create your Pygmalion — then give to her the
breath of life. In other words, try fashioning a
disarming damsel and fill her lifeless joints with
the animation your movie camera can inject. She
will be your glamorous and willing servant; your
whim will be her command.

Here, indeed, is a new idea for those many ama-
teurs anxious to try animation or single frame
photography, but who, up to now, have been un-
able to find the medium — jointed dolls, toys, etc..

placed on some pieces of the figure before they are
assembled. Before pinning on the right arm, the
neck should be attached to the figure’s chest and
this, then, covered with whatever material is to
be used for the blouse of her costume. After-
wards, you can attach the arm and cover it.
Otherwise, you would run into trouble around the
shoulder when trying to move the arm during
animation.

For the same reason, the abdomen should be
covered with the costume material before attach-
ing the right leg to the figure’s body. At the
knees and other places, shave or skive the pieces
with a razor blade, making them thinner so there
will not be undue bulkiness at the joints.

Possibly the best adhesive for fastening cos-
tume to the figure is liquid rubber cement, “Tri-
Tix,” or “Jif-Stik.” Fasten the fabric, of course,

• Continued on Page 488

9 '

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HOME MOVIES FOR OCTOBER

PAGE 473

A MARIONETTE "STAR" FOR YOUR MOVIES

• This is the way the marionette will look after you have assembled all members of body sketched at right. Extra heads afford variety in facial expression.

-y^mateuf^d acicl^et corrects PAimuH

will hold it firmly in all positions (Fig. 1). Re-
gardless of camera angle, the compensation for
parallax is precise, and convenient, and the de-
vice will not let you forget to make it.

The exact relative position of the viewfinder
and the camera lens must be known for your
camera before attempting to make this corrector.
For your convenience a table is given on page 500
in which this data is shown for most amateur
movie cameras. The point of view for each meas-
urement is from the rear of the camera.

If the data is not shown for your camera, the
method of calculation is as follows :

1. Place the camera in an upright position on
a piece of paper.

2. Using a right triangle with one edge on the
paper, mark the projection of the extreme
vertical edges of the viewfinder on the paper
by sliding the vertical edge of the triangle to
these points.

3. Mark the extreme edge of the lens or lens
hood in the same manner on the paper, be-
ing careful not to disturb the camera from
the exact position it occupied in step #2.

4. Determine the center point of the viewfinder
and the lens on the paper by bisecting the
space between each pair of marks.

5. Proceed in exactly the same manner with the
camera lying on its side.

The distance determined in step #4 is the hori-
zontal distance between the centers of the view-
finder and the lens. The distance determined in
step #5 is the vertical distance.

Knowing these two distances it is a simple mat-
ter to make a drawing that will show the exact
relative position of the viewfinder and the lens.

• Continued on Page 487

Old Homestead picture on opposite
page readily suggests a title back-
ground for your travel or vacation
movie. Photo made near Wyandotte
Cave, Indiana, by George F. Jackson,
of Evansville. Wrattan A filter used.

Aided by this easily made device,
you film exactly what you see

® Pictured here are va-
rious views of the all-
purpose parallax cor-
rector designed by
Robert Brock. Fig. 5
shows all necessary
parts before assembly.

lNYONE who has used a cine camera has
ultimately discovered that the viewfinder does not
present the true picture area in filming close-ups.
If the subject matter to be photographed is cen-
tered in the viewfinder, the finished picture is in-
variably off center.

This phenomenon, called parallax, is caused by
the difference in point of view of the viewfinder
and the lens due to their physical distance from
each other. At photographing distances exceed-
ing ten feet, this difference in point of view is
negligible, but at each closer distance the pheno-
menon becomes more manifest, and hence more
troublesome.

It is reasonable to assume that the rays of light
passing directly through the viewfinder center
and the lens center are parallel to infinity. There-
fore, a device that will mechanically shift the
camera lens to the exact position from which the
picture was composed in the viewfinder, fully cor-
rects for parallax.

The device shown in the accompanying illus-
trations performs this duty, and at the same time
provides a stable mounting for the camera that

'CAHVON

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HOME MOVIES FOR OCTOBER

• Pictured here are some good amateur composi-
tions in main titles: I — Colorful oriental fan serves
as background. Lettering was double-exposed. 2 —
Here objects allied to film subject were used in
conjunction with small block letters to form this
colorful title. 3 — Another use of actual objects to
illustrate a main title. 4 — Here title was cut from
yellow paper and laid over a light blue back-
ground decorated at corners with white pebbles.
5 — A near-professional job of hand-lettering text
in three colors over a tan background. 6 — This is
example of good commercial studio-made main
title. Lettering is in blue and white over a varied
colored pictorial background.

n economu cin^ie in

tltii

ina

Color

\ 5

imperative

and

t h

an one w a

y to

By G

E O

R G E W .

c u

H M

HEN preparing to shoot titles for a Koda-
chrome picture, some amateurs balk at the
thought of tapping the bank roll for another
spool of Kodachrome just to make titles. But
if multi-colored titles are desired, then they’ll
have to be shot on Kodachrome. But if you’re not
so fussy you can still have colored titles for your
Kodachrome picture that detract not one whit
from its class.

Black and white titles for Kodachrome pictures
are definitely out, but this does not mean that you
cannot film the titles wifhblack and white film,
as we’ll tell about later. We refer, of course, to
the number of descriptive titles that are to follow
your main title.

Your main title, if shot in Kodachrome, will, of

course, add much to your picture, and regardless
of plans for making the subtitles, you can have
your main title in Kodachrome by reserving a
few feet of color film for it before using it all on
your picture shots.

Movie amateurs often inquire as to what colors
are best in the composition of lead titles for Koda-
chrome films. This remains largely a matter of per-
sonal opinion, but if any rules are to be considered
they would probably tend toward keeping the
color in harmony with the subject of the picture
— dark toned backgrounds with light colors such
as white, yellow, light blue, and pink for the
letters.

A film picturing the story of wheat, for exam-
ple, would best be introduced by a main title pre-
dominantly yellow in color, whereas a Christmas
picture should definitely start off with a red and
green color scheme in the titles.

The question is sometimes asked : “Which type
Kodachrome is best for title making, regular or
type A?” As with the filming of pictures, this
depends on how titles are to be made — with nat-
ural light, or indoors under artificial light. If
regular Kodachrome is to be used, titling should
be done out of doors with sunlight for illumina-
tion. But the same film can be used for title
making indoors providing the new blue “daylight”
photoflood lamps are used or the special filter,
recommended by Eastman, is used in front of
the camera lens.

Where type A Kodachrome is to be used in
filming titles out of doors, the rose-colored Koda-
chrome filter must be placed in front of camera
lens. Indoors, of course, titles are filmed like any
other subject with this film. One advantage to
be gained in the use of Type A Kodachrome in-
doors with filter, as most of us know, is that it is
much faster than the regular type under interior
light conditions.

Before the days of color in movies, titles were
uniformly black with white letters so that the
sudden flash from scene to title would be easy on
the eyes. In making color titles, the same charac-
teristics have followed. The title text is in light
colors or tints, while the backgrounds are deeper
in tone, as for example the main titles of many
colored animated cartoons seen in theatres today.

Much of the effect of Kodachrome titles lies in
judicious choice of color combinations. Red and
yellow, red and purple, and yellow and orange
are color combinations which are not naturally
pleasing to the eye. Far better are combinations
of yellow and blue, blue and orange, etc., since
they are in greater harmony with one another.
Any color combined with white, silver, or even
black are not to be overlooked as good combina-

• Continued on Page 494

♦76

HOME MOVIES FOR OCTOBER

REVIEWS

cut

d cnticidmS of readers ^ iiu

A guide to better filming,
editing and titling . . .

X HE fact all three of the pictures reviewed
here rate three stars must not be construed to
mean that only three star films are considered for
pview by this department. On the contrary, it
indicates the high calibre of films that have been
coming in of late which may be due, of course, to
the extra efforts amateurs are making these days
to edit and title their films, giving them the fin-
ishing touches that make for a complete motion
picture.

As has been suggested before, these reviews, if
studied closely, will net the reader many ideas on
continuity, editing, titling, and camera technique.
Among the pictures reviewed this month were :

"WHY THE T "

800 R. 16mm. Kodachrome — By R. C. D.

★ ★★

outdoor sports, hikes, and weekly dances is shown
in further sequences.

Editing: The cutting of this picture was espe-
cially well done. Exceptions ai’e some confusing
scenes which might well be eliminated. For in-
stance there is a scene showing one woman sub-
mitting a reel of film, but there is nothing that
follows to reveal why film was submitted or what
became of it. A few shots of girls looking directly
into camera lens should be deleted.

Photography : Considering the vast job under-
taken in producing this film, the photography is
quite good. Some settings were so large that, ac-
cording to the filmer, sometimes as much as 6,000
watts of illumination had to be used with the lens
opened to f/1.5 and camera running at half speed
in order to record it! There were a few scenes
where framing was not accurate and heads were
cut off as a result.

Titling: Clean, crisp title text, nicely centered,
mark the titling of this picture as very good. The
main and other lead titles were double exposed
over moving backgrounds. ,

Continuity : This is a well planned record of
the activities of a Y. W. C. A. In fact the picture
was started by one filmer merely as a personal
record of certain Y. W. C. A. activities. Then
when results of first roll of film was screened, the
project was expanded to include sequences pictur-
ing the daily life of Y. W. C. A. members with spe-
cial stress placed upon membership benefits.

To knit the various sequences together, scenes
showing a gathering of the board of directors are
cut in, and in each instance, one of the members
reads a report of a certain division
of the “Y” and the sequence that
follows relates the report in pic-
tures. Starting with the admit-
tance of a business girl to the “Y,”
assignment to room, etc., the pic-
ture proceeds to show how the girls
live. We see them preparing their
own meals in the special “kitchen-
ettes” provided, and then caring
for their own individual dishes,
food, etc. Indulgence in games.

"ME GOOD BOY"

250 Ft. 8mm. — By E. E. L.

★★★

Continuity : This is an appealing movie record
of a little boy at Christmas time, well planned and
staged. The story is simple, never becoming so
involved that the little chap cannot handle his
part with ease. A few days before Christmas, the
little boy sees a picture of Santa Claus in an ad-
vertisement. With the assistance of his mother,
he writes a letter to Santa setting forth the toys

• Continued on Page 492

• Enlarged from origi-
nal 16mm. Kodachrome
frames are pictures at
top of page — scenes
from "Why the 'Y' "
reviewed here. Con-
sidering the vast
amount of interior film-
ing, this picture was
well photographed. Be-
low— enlargements from
original frames of "Me
Good Boy" and "Utah,
Land of Scenic Discov-
ery."

477

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SECTION

HOME MOVIES FOR OCTOBER

• Experience has shown that best results
are obtained from the public relations
film when it is limited to some special
level or phase of school work.

S 0 many schools are being added
each day to the list of those producing
public relations films that it is high time
we paused to ask ourselves a question
that is already overdue: “Are our pub-
lic relations films effective as public re-
lations media?”

Any evaluation of the school-made
public relations film must give serious
consideration to the amount and nature
of the planning that goes into the pro-
duction. It is this planning that makes
the difference between a screen product
that is merely a novelty and one that
tells its story effectively and efficiently.

Intelligent planning of the school-
made public relations film demands that
two questions be answered before the
producer attempts to outline the
scenario. (1) For what type of audi-
ence is this film primarily intended?
(2) What message will the film try to
put across?

It would be just as absurd to say that
any public relations film was suitable
for effective use with any audience as it
would be to say that any school text-
book could be used to advantage any-
where from the primary grades to se-
nior high school. Just as educators
have long taken for granted the neces-
sity for building a textbook to suit its
“audience,” so must they accept the evi-
dent fact that the public relations film
is most effective when built for and
used with a particular type or level of
audience.

In planning the public relations film
the committee in charge must outline,
title, and edit the film in terms of the
audience: its educational level, matur-
ity, social status, and familiarity with
the work of the school. It must be ob-
vious that a public relations film de-
signed for use with an audience of com-
paratively low educational level cannot

successfully employ the same approach,
the same terminology in titles, or even
the same type of editing as the film that
will be used with a PTA audience in the
suburban community of professional
workers.

A too-frequent fault of the public re-
lations film is the tendency to shoot over
the heads of the audience. Educators
often overlook the fact that an audience
of laymen, however intelligent it may
be, is not familiar with educational phil-
osophies and educational jargon. Just
as serious is the contrary tendency to
produce the same type of school trav-
elogue year in and year out, boring the
audience with the familiar and the com-
monplace.

The production committee must avoid
each of two extremes in outlining the
script for a good public relations film:
(1) Don’t underestimate your audi-
ence’s intelligence, and (2) Make cer-
tain that you are not aiming over the
heads of your audience.

The terminology used in titling school
films needs more attention than it gen-
erally receives. Too often the educator
forgets that his profession has built up
a working vocabulary which uses words
and phrases to express ideas and phil-
osophies that are quite apart from the
meaning usually conveyed by the same
words in their everyday usage by the
general public. It is not so much a case
of false impression as it is one of no
impression at all. Titles in the public
relations film must be worded so that
they speak the language of the audience
for which the film is primarily intended.

Is your public relations film “a film in
search of an idea,” or is it a film with a
purpose? Just as with any other me-
dium of communication between the
school and community — the newsstory,
platform address, radio program,
pamphlet — the public relations film
must have a point, a purpose, a theme,
a central idea around which the story
can be outlined.

The film that begins as a by-product
of club activity or of some teacher’s
personal hobby may reach a point where
it can be adjudged such a novelty that
it ought to be shown to the public. Such
a film, regardless of how novel it may
be, still remains largely just that to its
audience — a novelty.

The typical public relations film — “A

• Continued on Page 496

478

HOME MOVIES FOR OCTOBER

C4ucathHat &r t^ccuuMHtai'^ Oiltnu

SECTION

• "The Forgotten Village," curre n+ly screening, deals with life of Mexican peasant.

DOCUIIIEflTRliY

m& oijunina fai/of

• •

Documentary films seem to

have caught on with the public — so
much so lately, that there is increasing
activity in this field of motion picture
production. Three new documentaries
are being screened currently in theatres
and more are promised for the coming
months. Among the more outstanding,
and certainly the most interesting from
point of view of the amateur and semi-
professional interested in this type pro-
duction, is “The Forgotten Village”
which deals with the life of the Mexican
peasant.

The film follows the usual pattern of
a good documentary, man’s struggles
against the elements for existence. But
the student of documentary filming will
find in this picture a much smoother
continuity than is ordinarily found in
documentary films. Written by John
Steinbeck and produced by Herbert
Kline, the story contains more action
and suspense than has here-to-fore been
attempted in a true documentary.

Kline has had much previous expe-
rience in the documentary field, having
made “Crisis” and “Lights Out in Eu-

rope” abroad. Hackensmid’s photog-
raphy is really a treat and amateurs
will find much to learn from it. Unlike
many documentaries, this one does not
fall into the rut of being just another
travelog. Instead, it focuses upon one
Mexican family and stays with them
from birth through death.

The second documentary worthy of
mention is “Story of the Vatican,” a
better than average film of this type
depicting the capital of the Catholic
Church. It covers practically every
phase of Vatican life, explaining how
the little community really is a city in
its own light.

The film was written by the Rt. Rev.
Monsignor Fulton J. Sheen who also
does a grand job of narrating the com-
mentary.

The war element creeps in just
enough to show the immunity of the
Vatican from the usual war censorship.
The photography and editing are both
commendable and the film serves as an-
other good lesson for the student of this
type of film.

Last of the trio is “A Day in Soviet

New releases show
trend toward better
production technique

By GEORGE EDDOCK

Russia,” which is definitely not a propa-
ganda picture. The film is said to have
been completed before the present Rus-
sian hostilities began.

In this picture the careful observer
will find evidence of an attempt to copy
the Mai’ch of Time technique, but the
imitation is poor since it was attempted
at the editing table rather than in the
script.

The picture purports to show a true
cross section of everyday life in that
country today (or at least so we are
told.) The narration, by Quentin
Reynolds, carries the film along smooth-

• Continued on Page 492

479

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SECTION

CLASSROOM %L,

REVIEW AND EDMMENT ON LATE RELEASES

By Godfrey Elliott

BOYS OF ATITLAN, sound, 1 reel. This
film describes native life in some of the small
Indian villages of Guatemala. The opening
scenes note the typical dress of a small boy as
he starts on his way to the village school. We
learn that the Guatemalan village school di-
vides the boys and girls into separate groups.
Children are shown at play in the school yard
and on the neighboring lakeshore.

The school boys are shown marching and
drilling in the village square. Back at home
the girls and their mother are weaving some
of the beautiful fabrics for which this section
is noted. Their facile fingers create intricate
and artistic designs in the native fabric, using
only their ancient hand looms.

Throughout the film emphasis is placed on
the dress, the home life, and village activities
of the natives of this section of Central
America.

Boys of Atitlan should be useful in social
studies classes in the middle and upper grades.
It will be particularly useful at this level be-
cause of its greater emphasis upon activities
of children. Any unit involving understanding
of children of Central America can he supple-
mented to advantage through use of this film.

This picture is one of several new Way of
Life Films produced by Fanchon Royer and
distributed by Walter Gutlohn, 35 W. 45th
St., N. Y. City.

SPINNING WHEEL, sound, 1 reel. Shows
a pioneer grandmother and granddaughter in
their frontier home carding wool and spinning
it into knitting yam. The film is designed to
show in detail the process of spinning as it
was carried on in the pioneer home.

Grandmother is seated at the spinning
wheel. Elaine, the daughter, brings her a
supply of raw wool. Grandmother cards the
wool into curls. She threads the bobbin and

begins to spin and twist the raw wool into a
strand of yarn. The film explains the func-
tion of such parts of the wheel as the treadle,
wheel, spindle, flyer, and distaff.

Through years of practice grandmother has
learned to manipulate her hands so as to give
the proper tension and tvdst to the wool as it
stretches and spins into yarn. The bobbin is
filled, and grandmother and Elaine wind the
yarn off into a ball. Later they use the spin-
ning wheel again to twist two strands of the
yarn together to make knitting wool.

To the many children who have never been
privileged to see the actual operation of an old
spinning wheel, this film will give a greater
appreciation of pioneer life.

Spinning Wheel will find many uses in ele-
mentary and junior high school classes: in
units of study on pioneer life, in social study
classes, home economics classes, and history
classes. Available from the producer, Arthur
Barn Productions, 602 Summit Ave., Pasadena,
Calif.

CANDLE MAKING, sound, 1 reel. The open-
ing scene in a pioneer home shows father
taking down fire-making tools to kindle fire in
the fireplace. Donald, the small son, hands his
father tinder and wood.

After the fire is started, the room is pre-
pared for candle making. Mother and daugh-
ter fill kettles with water to heat. Donald
brings in tallow from the shed. Father cuts
the tallow into small pieces and puts them in
the dipping kettle. Elaine is helping her moth-
er prepare candle wicks as they are cut into
the proper lengths by father.

Boiling water is poured into the dipping
kettle to melt the tallow. After enough of it
is melted, the candle rods with the wicks tied
to them are dipped repeatedly in the liquid
tallow. Mother and Elaine exchange places
frequently, since it requires about twenty dip-
pings to accumulate sufficient tallow on the
wick.

After the candles are dipped and hung to
dry and harden, father trims the ends, and
Donald places them in the candle box for stor-
age.

Candle Ma\ing is a process film for use in the
elementary grades and through at least the
junior high school years. It will be valuable
as an aid in history, home economics, and
other classes or units of study where the stu-
dent is expected to gain a greater appreciation
of pioneer life. The film is rich in opportuni-
ties for detailed study. Further data may be

HOME MOVIES FOR OCTOBER

obtained from the producer, Arthur Barr Pro-
ductions, 602 Summit Ave., Pasadena, Calif.

PLACER GOLD, sound, 1 reel. With careful
attention to background detail. Placer Gold
shows how the gold hunters of ’49 used their
simple tools to work the placer mines for gold.

Beginning with the simplest and most essen-
tial tool — the gold pan — the film shows in pro-
gression the simple methods used to separate
gold from sand, dirt, and gravel. The film is
very clear in showing how the miner used the
pan in his first search for gold, how he went
about staking out his claim, the tent stores
which followed the miners to the gold fields, and
the construction and methods of using the
“Long Tom” and the sluice box which devel-
oped as improvements on the slower process
of panning.

Careful attention to detail and liberal use
of close-up shots make this really a process
film; its emphasis upon how gold was mined
by the men of ’49 provides a necessary educa-
tional contrast "with modern methods.

The film points out that the miners of ’49
who came to California in search of gold were
not the bewhiskered ruffians of fiction, but
were in reality comparatively young and hon-
est men between the ages of 18 and 35.

Placer Gold will be useful in the elementary
school and junior high school, in units of study
of pioneer life, in history classes studying the
gold rush days of 1849 and the influence of
that period on the westward expansion of the
nation. Produced and distributed by Arthur
Barr Productions, 602 Summit Ave., Pasadena,
Calif.

APTITUDES AND OCCUPATIONS, sound,
2 reels. This film is a recent addition to the
small but growing list of guidance films; it
is designed as an introduction to the general
problem of vocational guidance for high school
students. It is an attempt to help the student
in search of an occupational field discover what
he is capable of doing.

Aptitudes and Occupations opens by pointing
out that requirements for jobs are changing
due to improvements and new inventions.
Hence, the things that qualified a worker for
a joh years ago may not be essential require-
ments today.

Human abilities, the film states, are divided

480

HOME MOVIES FOR OCTOBER

haucatmai ^ loccumentatif jam

SECTION

By ANTHONY L. COPE

into six classifications: mechanical, social, cler-
ical, musical, artistic, and scholastic. The nar-
rator emphasizes these six abilities as the
film illustrates each of them as it might apply
to some vocation. Each ability is shown as
qualifying its possessor for certain types of
work.

It is pointed out that all individuals possess
these six abilities in varying degrees. The
student’s first task is to analyze his abilities.
He should use every facility of the school to
help him determine what fields of work his spe-
cial abilities best fit him for. He is advised to
study his school record, avail himself of occu-
pational counsel and aptitude tests.

The film will have a high value in high
school years if used properly with the neces-
sary preparation and follow-up work. It will
prove useful in occupations classes, home
rooms, business classes, and special situations
with older students. Distributed by Coronet
Productions, Palmolive Bldg., Chicago.

♦ ♦ ♦

• Making School Movies is title of a
new and interesting booklet pertaining
to the fast growing field of educational
production of motion pictures. Consist-
ing of fifty-six pages of closely packed
useful information for educators and
students interested in school -made
teaching and public-relations films, it
is a concise discussion of the funda-
mental principles involved in education-
al production of films with special ref-
erence made to films on the subject of
tralfic safety.

Chapters include such topics as, “Why
Make School Movies?” “A Film Situa-
tion Encyclopedia,” “Planning the
Film,” and “Some Technical Sugges-
tions.” Authored by William G. Hart
and Roy Wenger, members of Dr. Ed-
gar Dale’s staff at Ohio State Univer-
sity, the booklet is available from the
Bureau of Educational Research, Ohio
State University, Columbus, Ohio.

♦ ♦ ♦

• Hartley Productions, engaged in the
production of non-theatrical motion pic-
tures, will give a comprehensive course
in film making and sound recording in
their modern studios at 20 West 47th
Street, New York.

A short sound film will be produced
as part of the course of study which has
been designed to meet the needs of ad-
vanced students who want to make mo-
vies their career as well as amateurs,
students, and educators who wish to in-
crease their acquaintance with film tech-
niques.

The lectures will include the motion
picture camera and principles, film
emulsions, exposure and exposure me-
ters, filters, preparation of a script for
filming, direction, exterior filming,
lighting, interior filming, cutting and
editing, titling, post recording, cutting
and matching of sound track and direct
recording and re-recording. The classes
will be given from 8 to 10 p. m. every
Monday, starting October 6th.

In line with the trend away from
traditional type commencement exer-
cises, the June 1941 exercises of Cleve-
land Extension High School, headed by
Dr. Harry E. Ritchie, Director of Adult
Education for the Cleveland Board of
Education, featured a two-reel 16 mm.
Kodachrome motion picture. Anthony
L. Cope and John Borza, Jr., collabor-
ated in photographing the film, “Adult
Learning for Present Day Living,”
which presents a cross section of the
class work and activities of the evening
school students at the John Hay and
West Technical branches of Cleveland

Extension High School, Cleveland, Ohio.

The film was a joint project of the
students and teachers of the school. A
public address system was used for the
music and narrative accompanying the
film.

Most of the picture was photographed
with Type A Kodachrome. Scenes with-
in the sequence featuring a class in pho-
tography were shot on red base film,
thus presenting the illusion of a dark
room illuminated by a red safe-light.

Student assistants were trained to as-
sist with the production. The shooting

• Continued on Page 496

481

PAGE 482

HOME MOVIES FOR OCTOBER

Hand Crank

The hand crank on the camera pic-
tured here is not for backwinding film,
but for use in shooting- lengthy scenes
that might otherwise run longer than
one single winding of the camera spring
would operate camera mechanism. With
this crank, it is possible to shoot a full
spool of film without once stopping the
camera.

This is accomplished by letting cam-
era run down almost to the stopping
point then slowly and steadily turning
the crank while filming. Cranking ac-
tion exerts constant pressure on motor
spring which in turn operates the cam-
era. It is necessary, of course, to so
operate the camera mounted on tripod.

Crank does not require alteration of
camera. Original winding key is de-
tached by removing small pin, and han-
dle is attached by means of this pin.
The winding key may be replaced at
any time.

Construction of crank is fully ex-
plained in accompanying drawing. Met-
al parts may easily be turned out and
assembled by a machinist. Fig. 1 is a
piece of round metal rod 1/2" in diame-
ter and %" long, with a 1/4" hole drilled
through it to fit camera winding shaft.
Beveling permits welding or brazing to

arm (Fig. 2). The arm is l^" thick
and 21/2" long and slotted as shown at
bottom.

Figs. 3 and 4 show handle assembly.
This fits into slot in arm, ends of which
are turned under to secure handle in
place. Arrangement permits folding
handle flat to permit easier storage of
camera in case.

— H. M. Boswell.

THE [\PE

Lens Shade

Illustrated is a filter holder and lens
shade for Keystone and other 8 mm.
cameras. This little gadget will not slip
nor will it scratch the lens case. Its
total cost is about one hour of pleasant
work.

Material needed consists of one used
6-J-7 metal radio tube, a piece of strip
cork 1/16" thick and 1/4" wide and two
inches long, and an ordinary bottle cork
one inch in diameter.

To prevent scratching surface of tube
while working with it, wrap the por-
tion to be used with adhesive tape.

Clamp bottom of tube in a vise and re-
move the small collar from top with a
hack saw. One half inch of the case is
ample; so mark around the tube and
saw it through. Then drill a hole in
the top and file it to size, at same time
removing all rough edges. The sunshade
and lens collar should total %" in length.

From the 2" strip of sheet cork, cut
a piece to fit inside the collar and ce-
ment it in place with varnish or shellac.
This is the part that slips over lens
mount. Next step is to cut a washer
1/4" thick from the one-inch cork and
then cut a 1/2" hole in center of the
washer. This forms a retaining ring
for holding filter in place within the
sunshade. Any filter disc 23mm, in
diameter can thus be accommodated.
Finishing touch is application of coat
of dull black paint to interior of lens
shade to absorb reflection of light.

— David H. Thomas.

Reel Storage

Metal tool or fishing tackle boxes now
available in hardware and variety stores
at low cost make excellent carrying and

RIMEHAL

storage cases for 8 mm. reels up to 200
feet capacity. Such boxes will hold as
many as 28 reels. Lining bottom and
sides of box with felt will prevent
scratching of paint from newer type
painted steel reels ; also prevent mar-
ring of humidor cans where such are
used, not to mention the silencing fea-
ture provided.

— P. J. Williams.

Cueing Records

In playing musical records with home
movie screenings, best results are ob-
tained where records are properly
marked to enable placing needle on ex-
act spot where desired musical passage
begins.

One of the best methods for placing
cue marks on records that are easy to
find is to rub a piece of chalk over loca-
tion of desired groove in record, as
shown in illustration. First play record
until tone arm reaches point where it is
desired to start playing the record with
the picture. Without removing needle

from record, back up record a few
inches, and rub a piece of white chalk
over the groove. Then move the record
so needle will cut through the chalk
mark, thus indicating groove in which
needle should be placed for subsequent
playings. As the record plays, balance
of chalk mark toward center of rec-
ord will be removed by needle. The rest
of mark will remain, however, to indi-
cate starting point. Several such
marks may be made on a single record

HOME MOVIES FOR OCTOBER

PAGE 483

CINE WORKSHOP

where playing of more than one musi-
cal passage is desired.

— F. R. Grosse.

Focusing Conversiuu

I converted the f/3.5 fixed-focus lens
of my Revere 8 mm. camera to a focus-
ing lens by a simple alteration of the
camera. The lens of this camera has
four white indicator marks on the bar-
rel. I removed the white ink from three
of them, leaving but one as my master
mark.

Then I unscrewed lens from the cam-
era, removed the brass name plate from
front of camera and turned this plate
over, placing it back on the camera.
After shooting tests of numbered blocks
at various distances from the camera
and with the lens adjusted according-
ly, I was able to determine where to
place the footage marks on this plate.

In shooting the tests, the lens was un-
screwed 1/16 turn for each shot. The
tests proved that three-fourths of a
turn provided a 9-inch focus, and from
this point other focusing positions were
determined so that I now can get sharp
pictures at one, one and one-half, two,
three, and four feet in the close-up
range.

— Richard Wars fold.

Titling Aid

The accompanying sketch shows de-

tails of a frame I made to aid in making
titles. Its use permits shooting title
text and pictorial or moving back-
grounds simultaneously, eliminating ne-
cessity of superimposing by double ex-
posure. It also affords means of mak-
ing other novelty effects in titles.

As may be seen, the frame is so con-
structed it may be mounted upon a reg-
ular camera tripod. Two grooves in
frame side members provide for fitting
frame with a panel of glass on which is
mounted title letters, and a large pic-
torial background on a separate mount-
ing. In shooting titles with action
backgrounds, only the glass panel is
used in the frame to which title letters
are applied.

Construction details are shown in
sketch. Attention is called to hinged
top member of frame which permits
opening of frame for insertion of glass
panels, title backgrounds, or title cards.
Because of this construction feature, it
is essential to secure joints at bottom
of frame with small metal angle braces
as shown. Socket for tripod screw is
made by brazing a nut from a quarter-
inch bolt to a metal plate and mounting
this on bottom of frame with nut coun-
tersunk into frame member as shown.

— Wm. A. Canaday.

Lighting Interiors

A bright reflector, which can easily
be made from a large panel of card-
board or wallboard and painted with
white or aluminum paint, will enable
one photoflood lamp in reflector do the
work of two, as illustrated here. By
placing the reflector at the opposite side
of subject, the light coming from the
photoflood can be directed against the
other side of subject to enhance light-
ing, quality and effect. Light from re-
flector will be slightly lower in intensity
which adds to lighting quality. For best
results, reflector should be fixed in ele-
vated position in order to direct light
rays from above in a natural manner.

trlckd and
sLort cuts conti^duted

C^ineLui

REWARD FOR IDEAS!

Ideas not published will be held for future
publication unless they duplicate ideas pre-
viously received. Endeavor also to send along
photos or rough sketches Illustrating your sug-
gestions. There is no limit to number of
suggestions you may submit.

Important: When submitting ideas, be sure
to mention whether equipment you use is 8mm
or 16mm, enabling us to promptly forward
awards adaptable to your use.

Highlighting and backlighting may also
be accomplished by use of such reflect-
ors when properly positioned with rela-
tion to light source and subject.

— H. E. Brown.

Titles

To make neat black and white titles,
simply letter titles on architect’s tracing
cloth, then make a contact print of the
title on No. 3 or No. 4 contact paper.
This will produce a black title card with
white lettering as shown in illustration.
Blue-print paper may be used for the
contact prints instead of regular photo
printing paper. This will not produce a
deep black title for black and white
films but for Kodachrome results will be
excellent.

The title card “negative” pictured
• Continued on Page 496

\ .... tr AC i

SKI JUMPING A CAR
AT FIFTY MILES
PER HOUR

PAGE 484

HOME MOVIES FOR OCTOBER

Si^unJ 0Ji yim

jen m

Cine-Kodak Special

AURWON CINiSPEClAL 'RUMP'

Soundproofed enclosure for Cine-Kodak
Special Camera $195.00

AUlUCON SOUND DRIVE

Synchronous motor drive for Cine-Kodak
Special Camera $125.00

AURICDN 16 mm. RECORDER

Variable-area sound on film, for double
system recording with any synchronous
motor driven 16-mm. camera. Amplifier with
background-noise reduction and mixers for
combining speech and music. Including
dynamic microphone, instructions and cases
for Recorder, Amplifier, Accessories $695.00

Ask your Dealer, or write today
for free descriptive booklet.

AURICON ^laUio*t,

E. M. BERNDT CORP.

5515 SUNSET BLVD., HOLLYWOOD, CALIF.

MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931

o Continued from Page 468

tramp goes on his way.

The picture opens with
the children gathered in
the patio of the home of
one of them. One child sug-
gests a wiener bake and the
inventory of funds follows.
They set out for the market
and while one lad goes in
to purchase wieners and
buns, rest of the group re-
mains outside on the side-
walk. When the lad re-
turns, he opens up the
package to reveal how
many wieners he got for
his money, and a comic
touch was injected at this
point by having the small-
est boy snatch one of the
wieners from the package.
It is retrieved, of course,
and the kiddies proceed to
the river bank, where the
wiener bake is to take
place.

The next sequence fades
in with a shot of the tramp
stumbling along a railroad
track toward the camera.
Along the way he pokes at
odd bits of paper, etc., then
picks up a rusty tin can.
With this, he detours to the
river bed, near the scene
of the kiddies’ wiener
roasting, and prepares a
can of coffee. Soon he
smells the aroma of grilled
wieners and proceeds to
follow it, which, of course
brings him to the kiddies
huddled around a small fire.

The children invite him
to sit down and one boy
asks: “Have you been all
around the world?” This
is the cue for the tramp to
open up with his yarns and
he replies, “Yep — been all
over.” “When I was in
Mexico,” the tramp contin-
ues, at the same time reach-
ing nonchalantly for a bun
into which he stuffs two
wieners, “I — ” and here the
sequence begins picturing
his adventure in Mexico.

Garbed as a Mexican
peon, the tramp is shown
meandering through the
streets of a small Mexican
village. He encounters mu-
sicians, p o 1 1 e r y makers
and ultimately a tortilla
seller from whom he ac-
quires a tortilla too hot to
handle. This he places to
cool in the brim of his large

sombrero and continues on
his journey until he finds
an inviting place to rest.
Soon falling asleep, he is
presently awakened by his
dog nipping at the tortilla.
He awakens long enough to
remove the tortilla and
place it on top of his head,
covering it with his hat.
Continuing his slumber, he
is unaware of the juicy fill-
ing of the tortilla running
down over his face. The
dog begins to lick his face
and a dissolve at this point
indicates the tramp is
dreaming a beautiful senor-
ita is kissing him !

HOLLYWOOD

ACCLAIMS

On September 17, 1941, a
signal honor was accorded
Chester Glassley of Dallas,
Texas, producer of "Out To
Win," second prize winner in
Home Movies 1940 Amateur
Contest, when his picture was
screened before a special
meeting of directors and
members of the Academy of
Motion Picture Arts and Sci-
ences at the Paramount Stu-
dios in Hollywood.

Glassley, vacationing in Hol-
lywood had brought along his
prize-winning picture to show
to a friend. The friend was
also a friend of the famed
movie-director Frank Capra,
and arranged tor a screening
of the picture in Capra's
home. So impressed was Cap-
ra with Glassley's picture, he
arranged for It to be screened
at the Academy meeting.

"Out To Win" proved high-
ly entertaining to the profes-
sionals present as evidenced
by their reactions during
screening of the picture and
the round of applause that fol-
lowed its showing.

Fading back to the group
gathered around the tramp,
the tramp is shown helping
himself to another bun and
more wieners as he launch-
es another yarn — this time
about being shipwrecked.
The shipwreck sequence
opens with a shot of the
tramp, clad only in dun-
garees, sprawled face
downward at the edge of
the surf. He arises and
stumbles about in an effort
to get his bearings. He

comes upon a bottle in
which is sealed a roll of pa-
per. Breaking the bottle,
he finds the paper to con-
tain a map indicating the
whereabouts of hidden
treasure. He sets about to
digging in the sand and
soon uncovers a huge wood-
en chest. Throwing open
the lid, he finds within it
a queer assortment of
trinkets. Sighting bulging
sacks at the bottom of the
chest, he excitedly throws
aside the trinkets. But up-
on opening the sacks, he
finds they contain nothing
but bottle tops ! The se-
quence closes with a close-
up of the tramp in mani-
acal rage at his disappoint-
ment. Note here the “kid-
ding” ending the tramp
purposely puts on this

yarn.

Cutting back to the wie-
ner bake, the kiddies are
seen leaning forward in
earnestness listening to the
tramp’s yarns. One of the
highlights of the picture is
the manner in which Mc-
Cracken captured this
mood with perfect natural-
ness. Indeed the wonder
of all who see the picture
is how he obtained such
natural acting response
from his cast.

Reaching for another
bun and still more wieners,
the tramp continues spin-
ning yarns — this time
about his adventures in
Switzerland. This begins
with a shot of the tramp in
Swiss attire hiking along
an Alpine trail. Presently
he comes upon a chalet, on
the balcony of which is a
young maiden. A flirtation
ensues, the maiden tosses
him a rose, and she de-
scends to meet the strang-
er. Together they sit in
the garden and soon the
tramp is proposing. The
maiden accepts, and togeth-
er they embrace. At this
moment the girl’s mother
conies out on the balcony.

Evidently she is cleaning
house for she is carrying a
pail of water which, upon
sighting the stranger em-
bracing her daughter, she
pours upon the intruder

HOME MOVIES FOR OCTOBER

PAGE 485

sending him scampering
away.

This brings much laugh-
ter from the tramp’s young
listeners who by this time
have entirely forgotten
their wieners, and they
urge him to continue. Af-
ter replenishing himself
with more buns and wien-
ers, the tramp begins a tale
of his adventures in Wyom-
ing. This sequence begins
with a shot of him on
horseback, dressed as a
cowhand. Surrounded by
a number of dogs, the
tramp sets out for the
woods. Soon he comes up-
on two bob cats, flushed out
of the underbrush by his
dogs, and he sets about to
capture them alive. Treed
by dogs, the cats are an
easy target for hunters, but
the tramp has his own
method of capture. Taking
a long pole to which is at-
tached a length of rope, he
climbs the tree, carefully
moving toward the cats
which keep a safe distance
out on a limb. Presently
one cat loses hold and drops
to the ground to be pursued
by dogs, and the shots of
the encounter between bob
cat and dogs is a climactic
point in the picture.

The tramp maneuvers
close enough to the remain-
ing cat and, forming a noose
with pole and rope, soon
has it over the cat’s head,
and the cat safely trapped.
Additional scenes show how
he places the cat in a gun-
ny sack. This done, he
rides a way, the pack of
dogs yelping in pursuit.

Returning to the yarn-
spinner and the kiddies, we
see that all of the wieners
and rolls have been con-
sumed by the tramp. With
nothing more left to eat,
the tramp shoulders his
bundle and, bidding the
kiddies good-bye, goes on
his way.

All at once the kiddies
realize the tramp has cun-
ningly done them out of
their food, and in childish
fury they call out after
him. The smallest of the lot
kicks at the ground in boy-
ish rage and says of the
tramp’s yarns. “Just a
bunch of cock and bull
stories !”

But his sister, musing
philosophically, says : “Oh
well. I’d sooner hear a good
story any day than eat.”

The closing scene shows
the tramp, back again on
the railroad track, looking
back at the angry children
and saying: “Oh well — they
can eat 'when they get
home.” Shifting his bun-
dle, he walks on as the pic-
ture ends in a fade.

The last sequence — that
of the bob cat hunt — was
filmed a little over two
years ago. The other
“yarn” sequences were
filmed at various times
since then. Only recently
were the tie-up sequences of
the tramp and the children
completed and the film as a
whole given a final polish-
ing.

“One thought that I had
in producing this picture,”
relates McCracken, “was
to prove what an amateur
could do in the way of mo-
vie making by utilizing
one’s local surroundings,
household trinkets as
props, and family and
friends for actors.”

The Mexican village
scenes were shot in famed
Olvera Street in Los An-
geles and at other localities
where true Mexican archi-
tecture prevails. The ship-
wrecked scenes were a
cinch — being filmed at one
of the nearby Southern Cal-
ifornia beaches. A friend’s
home of Swiss architecture
served as the locale for the
Alpine adventure scenes,
and the Malibu mountains,
as already related, fur-
nished locations for the bob
cat trapping sequence.
None were over thirty
miles distant from Mc-
Cracken’s home.

McCracken’s camera
technique is unique as it is
perfect. In spite of the
fine acting ability of his
cast, he wisely kept from
too “close” c 1 0 s e u p s that
might otherwise reveal any
flaw in action that would
jar the smooth flow of con-
tinuity. Here, indeed, is
where the exception to the
rule of closeups was judi-
ciously employed and with
telling results. In this same
department, composition,
exposure and focusing is of
highest calibre.

We regret the film has
become unduly scratched,
rendering good, clear frame
enlargements impossible,
but those we have repro-
duced will provide some
pictorial idea of the story.

IV TOW — or at any other season — you’ll find a Speed
^ Ciraphic ready and able to make the most of any pic-
torial possibility.

The 234 X 3H Miniature Speed Graphic, for example,
has 24 focal plane shutter speeds up to 1/1000. Fitted with
the //4.5 Kodak Ektar in Supermatic shutter, it has an-
other range of useful speeds. Add ground glass focusing,
long bellows extension, rising-falling front, and adapt-
ability to film packs, cut sheets, or plates — and you have
a few of the reasons for this camera’s popularity.

Graphic and Graflex cameras are made by the
Folmer Graflex Corporation

EASTMAN KODAK COMPANY, ROCHESTER, N. Y.

B&ii'iam WiluMaJuMf. Sau4.:

"Our new 1941-42 catalog is far more than a
catalog. It is a directory of the best available in
l6mm sound, l6mm silent and 8mm motion
pictures. It is the year-book of the trade and is
the most valuable book that can be placed on
the desk of any booker of non-theatrical motion
pictures.”

No matter how you use motion pictures; no
matter what type of motion pictures you want,
you need this new catalog. Send to our nearest
office for your free copy.

IDEAL PICTURES CORPORATION

28 East 8th Street 2102 West Seventh Street 18 South Third Street
Chicago, Illinois Los Angeles, California Memphis, Tennessee

BERTRAM WILLOUGHBY PICTURES CORPORATION

SUITE 600, 1600 BROADWAY NEW YORK. N. Y.

PAGE 486

HOME MOVIES FOR OCTOBER

NO ADHESIVES • NO PINS

Quixet Letters are made of plastic and
are equipped with powerful "Alnico" mag-
nets that are guaranteed to retain their
magnetic properties for ten years.

WORKS LIKE MAGIC

Quixet Letters will hold firmly to any iron
or steel surface through paint, lacquer,
enamel. Letters have sufficient power to
"pull" through paper, cloth, photoprints.
For Black & White and Kodachrome Titles

REGULAR s/g" SETS

91 White Letters, 10x14 Black Panel $9.50

91 Red Letters, 9x12 Blue/Green Panel 12.00

DE LUXE 5/g" SETS

150 White Letters and Numerals, Black

Panel $15.00

150 Red Letters and Numerals, Blue/

Green Panel 18.00

Also available in I" and II/2" slio letters
Ac Your Dealer, or Order Direct from

HAMILTON DWIGHT COMPANY

155 E. 44th Street New York City

The

IDEAL

Photographic

GIFT

The recogmized authority
on “wliat to do in the dark*

MenAf

completely'revised

TWO-VOLUME

Edition

PHOTO
- LAB -
INDEX

By Henry M. Lester

94 pages

of authentic

CINE DATA

Nov/ ready — in
Supplement No. 7

A condensed manual
of approved CINE-
practice, with au-
thentic REVERSAL
procedures and
practical data on all
8. 16. and 35mm
films and cameras.
Formulas, title-mak-
ing, projection data,
ASA standards and
SMPE practices, etc.

room.” 195 of the famous
“TIME - GAMMA - TEMPERA-
TURE” development charts—
(more in supplements) — plot
the performance of currently
available films with every
recommended developer.
2057 authentic filter-factors,
400 photo - chemical terms,
plus exhaustive data on films,
formulas, flash and flood
lighting-, etc.— for both still
and CINE work. Two vol-
umes. 452 pages, $5.00.
QUARTERLY SUPPLEMENTS
at $2.00 per year, available
ONLY to registered owners,
keep your Index up-to-the-
minute. At good camera and
book stores, or postpaid, from
the publishers.

MORGAN & LESTER

Publishers

100 EAST 42nd STREET NEW YORK

^^now i^our ^iimdy wLat tlie^

inow

• Contniued from Page 470

ing off in density from the
top to bottom. Thus the
height of any one part of
the spectrogram is an indi-
cation of its relative color
sensitivity to that particu-
lar color.

The color sensitivity of a
film determines several fac-
tors of which the first is
the monochromatic rendi-
tion of colored objects as
translated into black and
white. If we were taking
a picture of a girl wearing
a red dress on a film which
is not sensitive to red, the
dress would appear black
in the finished picture.

The second characteristic
determined by the color
sensitivity is the difference
in speed between daylight
and tungsten light. Tung-
sten light contains less blue
light than daylight. Since
the greatest sensitivity of
the average film is in the
blue region the film will be
slower under artificial
light. However, one film
manufacturer has pi’oduced
a film which has its great-
est sensitivity in the red or
orange region of the spec-
trum. This film is, there-
fore, faster under artificial
light in which there are
more red and orange in its
composition.

Third characteristic is
the ability of a film to re-
spond to use of a filter. A
film which is not sensitive
to a certain color would not
record a picture if we tried
to use a filter of this color.
A red filter, for example,
passes only red light. Thus
if we had a film not sensi-
tive to red we would have
no other light reaching our
film and it would not be
exposed, unless an unusu-
ally long exposure was
given. Likewise a film sen-
sitive to all colors can be
used with any filter.

There are three main
types of film available to
the motion picture amateur
today. The first is the non-
color or blue sensitive film.
This hasj^ blue sensitiv-
ity inherent in all photo-
graphic emulsions. This
film was originally intended
for making prints or posi-
t i v e transparencies. In

printing there is no color
to contend with. Film is
much cheaper to make if
it is sensitized to one color
only. However many en-
terprising amateurs found
that with careful use very
nice pictures could be tak-
en with it. This film is
known as positive.

The next type is ortho-
chromatic such as veri-
chrome, plenachrome, su-
perchrome, etc. This film
is sensitive to the blue and
green portions of the spec-
trum but is not sensitive to
the red end.

The third type, which is
generally regarded more
or less as an all around

=7/

WIIVMEHS-

of Home Movies’ 1941
Amateur contest, which
closed September 30th,
will be announced in the
November issue of Home
Movies. Don’t miss this
big special number which
will picture the winners
and illustrate and de-
scribe the best Home
Movie films of the year.
If you’re contest-minded,
make doubly sure you get
the November number —
guide to making prize-
winning movies.

film, is the panchromatic.
This film is sensitive to all
colors of the spectrum. The
red, blue, and the green, A
picture taken on panchro-
matic film would have the
most natural effect. Almost
any filter can be used with
this film.

The ilustrations for this
article were prepared with
the object in mind to show
just what happens to the
various colors on different
types of film. A Koda-
chrome slide was selected
which had several pure
colors in it. The original
kodachrome picture was
taken at the New York

Worlds Fair and the illus-
trations were prepared by
copying the original on
three different negative
materials, namely panchro-
matic, orthochromatic, and
positive, the last, of course,
requiring an extended ex-
posure.

The colors of the various
objects in the original pic-
ture were.

White ; General Electric
sign, tall spire in right
foreground.

Green : Building itself ;
reflections in pool.

Red: Central portion of
spire in center background.

Yellow : Circular trim on
background spire.

F igure one was taken on
Panchromatic film. The
white sign and spire, the
central spire in background
and circular effect, the
building itself and the re-
flections in the pool all
show up. This is because
the panchromatic film is
sensitive to all colors.

Figure two was taken on
the orthochromatic film;
the recording is nearly the
same as the panchromatic
except for the fact that the
red spire in the background
is not recorded due to the
absence of red sensitivity
of the orthochromatic film.

Figure three is the posi-
tive film. This film is sen-
sitive to only the blue light.
It records only the white
spires and sign which have
a considerable amount of
blue in them. The other
colors, red, green, yellow,
are lost completely.

With this knowledge ac-
curately catalogued in one’s
mind or note-book, it is rel-
atively easy for an amateur
to select the type of film
that will net the best re-
sults in a given filming un-
dertaking.

For example, if your sub-
ject is out of doors in
bright sunlight and with
little or no shadow, the

much experimented-with

positive film will record sat-
isfactorily. Rendition of
color tones will not be full
scale, as with orthochro-
matic and panchromatic
emulsions, and the result

HOME MOVIES FOR OCTOBER

PAGE 487

will be mostly black and
white with some grey miid-
dle-tones.

Where better tonal ren-
dition is required in out-
door filming, yet economy
in film price is a factor,
any of the orthochromatic
emulsions can be used with
assured success, Orthochro-
matic film is not, however,
intended for use indoors
with artificial light. Nor is
it adaptable to filter use.

For full tonal rendition
in both outdoor and indoor
filming panchromatic is the
film to use. Filters may be
used with this film, increas-
ing tonal range or enhanc-
ing pictorial effect through
correction of tonal values.
It is the only black and
white film for indoor cine-
matography under artificial
illumination and various
grades of the panchromatic

This layout supplies the
basic dimensions for the
construction of the parallax
corrector.

Tempered Prestwood, or
similar material, is ideal
for making the base, seg-
ment, tilting stationary
surface, and sliding sur-
face, all of which are the
principal elements of this
device.

Strip steel measuring ap-
proximately 1/2" by Ys" is
well suited to making the
metal supports and braces.
The actual camera support
is made of strip steel meas-
uring 11/2" by Ys", and
must provide complete me-
chanical rigidity.

Examination of Fig. 2
will show that the sliding
surface of the camera
mount is slotted at four
points. Three of these slots
are the exact length and
angle of the parallax. They
serve as guides in the shift
of the camera. There are
three of them to insure that
the motion at all points on
the camera is identical in
the shift from the compos-
ing to the photographing
position. (Figs. 3 & 4).

The fourth slot is longer
and wider than the others,
and is the opening for the
starting button guard that
is described later.

emulsion enable shooting
night scenes at normal
camera speed.

Sometimes there is a dif-
ference in the general color
tone_x)f each type emulsion
with the result that if
scenes made on all three
are spliced into one reel,
the difference is noticeable
when picture is projected
on the screen. This differ-
ence in tone is very marked
between films of different
manufacture and it is
therefore essential to con-
sider this where an extend-
ed production will involve
using two or more different
brands of films or emul-
sions. To ignore this may
result in the picture chang-
ing color on the screen at
intervals from black and
white to a brownish tone or
perhaps a bluish hue, ac-
cording to the films used.

The parallax corrector il-
lustrated here is designed
primarily for use with the
single lens. Filmo 8. Ref-
erence to Parallax Data ta-
ble will show that the view-
finder on this camera is
61/64" above and 21/32" to
the right of the lens. Thus,
in order to place the view-
finder at the precise view-
point of the lens, the cam-
era must move downward
and to the left a straight
line distance of 1-5/32", at
an angle of 55 degrees and
thirty minutes with the
horizontal.

Before cutting the guide
slots, it is important to
make a full scale drawing
of the sliding surface of the
camera mount showing the
exact position of the guide
slots. Use this drawing as
a template by placing a
sheet of carbon paper be-
neath it, and trace the lay-
out on the Prestwood.

As the starting button
of the Filmo Eight is locat-
ed at front of camera, it
is easy to provide a means
of making this button pur-
posely inaccessible when
the camera is in the com-
posing position. This ex-
pedient will prevent taking
the picture until full par-
allax correction has been
made and camera returned

to “taking” position. This
starting button guard, re-
ferred to above, is mounted
on the tilting stationary
surface, and is pointed out
by the top arrow in Fig. 1.
Regardless of the position
of the starting button on
your camera, this safety
feature can be built in to
your parallax-corrector.

The base of this correc-
tor can be drilled and tap-
ped with a 1/4-20 thread for
tripod mounting, or it can
be placed on any firm hori-
zontal surface as a support.
It will hold the camera for
taking pictures horizontal-
ly, vertically downward, or
in any intermediate posi-
tion, as shown in Fig. 1. In
all positions the camera
will be held rigid and free
from vibration.

When the camera is
shifted upward to the pho-
tographing position, it is
held there by tightening
the nuts on the machine
bolts that pass through the
guide slots as shown at “A”
in Fig. 1. The camera is
held firmly at any angle by
tightening the wingnut on
the slotted segment indicat-
ed by the lower arrow in
Fig. 1.

Most movie amateurs
make their sub-titles with
a horizontal titler, using
erect title cards. Many
others use the greater con-
venience of a vertical titler
with horizontal title cards
or backgrounds, since in
this position, movable let-
ters can be laid anywhere
on the title background and
will stay wherever they are
placed.

However, by using this
parallax corrector, the pho-
tographer is not limited to
the use of a vertical or a
horizontal plane, since his
subject matter can be ac-
curately centered in any
plane. It follows that more
elaborate title backgrounds
such as miniature sets can
be used and viewed at any
downward angle.

Similarly, any type of ta-
ble top photography can be
accurately performed, since
the picture can be com-
posed in the viewfinder ex-
actly as the camera lens
will see it. Also, masks
for multiple exposures can
be placed more accurately
with this device than would
be possible by any other
method except w^here mask
holder is built into the
camera.

^ad^et connects puraiiux

• Continued from Page 474

9^ tpulvst musJi ihisid

r'? n 'm o V ,'P ~ jT 7

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PAGE 488

HOME MOVIES FOR OCTOBER

DeJUR Instantaneous Reading
'Critic' model 40C Exposure A/leter

Featuring the Special Locking De-
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With the "Camera Angle of Acceptance."
Sensitivity from 1 to 4000 foot candles.
Film speeds from .3 to 800 Weston. Shut-
ter speeds from 6 to 128 frames.

Af your dealer's, or write for details.

*Price subject to change without notice.

Shelton Connecticut

New York Office Flatiron Building

Quality Bulk Movie Film

8mm • 9y2mm • 16mm • 35mm

SUPER PANCHRO REVERSAL-

Speed 24-18 — Anti-Halo Backing.

—Scored

100 ft.

32 ft.

Double 8 .

. . $3.60

$1.30

Single 8 .

. . 2.00

.80

16 mm. . .

. . 3.25

MICROGRAN PANCHRO R EV E RSAL— Scored

Speed 12-8 — Anti-Halo Backing,

Extra Fine

Grain

100 ft.

32 ft.

Double 8 .

. . $3.30

$1.20

Single 8 .

. . 1.85

.70

16 mm.

. . 3.15

SUPER CINEPAN PLUS REVERSAL— Not Scored

Speed 64-40 — Non-Halation Base

100 ft.

33 ft.

Double 8 ,

. . . $3.85

$1.45

Single 8 .

. . 2.15

.80

16 mm. . .

. . 3.50

SUPER CINEPAN REVERSAL-

-Not Scored

Speed 24-16 — Non-Halation Base

100 ft.

33 ft.

Double 8 .

. . $3.35

$1.25

Single 8 .

. . 1.90

.70

16 mm. . .

. . 3.25

CINECHROME SEMI-ORTHO REVERSAL

Speed 8-2 — Non-Halation Base — Not Scored.

100 ft.

33 ft.

Double 8 .

. . $1.75

$ .75

Single 8 .

. . 1.15

.50

16 mm. . .

. . 1.45

CINE-KODAK POSITIVE TITLE

FILM-NotScored

100 ft.

33 ft.

Double 8 .

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$ .60

Single 8 .

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16 mm. . .

. . 1.00

Clear, Purplehaze, Yellow, Red. Amber. Special Blue.

Also DuPont Lavender. Pink, Light Amber.
Complete New Reversal and Title Instructions Free
with Film Orders. Separately, 25 cents each. Cash,
check or money order for quick service. Depo.sit
$1.00 returned with C.O.D. orders. Special Deliv-
ery, 15c; air mail $1.00 extra. Overpayments re-
funded or credited. No stamps, please.

CAMERA SPOOLS WITH CANS— Each

Double 8 $ .35 Keystone St. 8

Univex 20 16 mm.. 50 ft. .

Eastman Double 8 . .40 16 mm., 100 ft. .

EXTRA CANS. Double 8 and Straight 8 size
100 ft. and 50 ft. 16 mm. size . . . .
Non-Humidor, 400 ft. 15c each; 10 for
MISCELLANEOUS

RAIA Precision All-Metal 8 mm. Slitter . .
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FOTO-FADE WIPE-OFF TAPE, per roll
CINETINTS, 6 Colors and Instructions . .
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HOME MOVIES, Back Issues, 1936-37-38
Not all months in any year, 1940-41, each
TITLE DEVELOPER, tubes, each make 16 oz

$ .35
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$2.50
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Write for Complete NEW Price Lists

W. STUART BUSSEY FILM LAB.

17 E. St. Joseph St. Indianapolis. Ind.

unimuted

mouied

• Continued from Page 472

only where it will not inter-
fere with movement of
members of the body. In
other words, blouse should
be tacked primarily at bot-
tom rather than at top
where allowance must be
made for neck movement.
The fabric should be drawn
around the back of the fig-
ure and fastened for neat-
est appearance. A piece of
silk stocking material will
do for the hose. A wide
belt of some other material
is an important feature of
• the costume as this tends to
cover joining of blouse and
skirt.

Gloves may be cut from
plain white paper, and the
shoes, facial features, hair,
etc., may be painted in
with black India ink.
Above all, the ensemble
should be as feminine as
possible. Otherwise your
star’s sex appeal will be nil.

Variety in facial expres-
sion is provided in the
three head illustrations.
Alternate these according
to the mood. Heads can be
temporarily attached with
rubber cement or scotch or
adhesive tape.

After the figure is com-
pleted there are several
ways to set it up for shoot-
ing. The accompanying
sketch (Fig. 1), however,
indicates probably the most
practical. The lower plane
should be of substantial
cardboard. This is to hold
the background, drapes,
etc., and should be at least
18" by 24". The figure per-
forms on the panel of glass
above, which is parallel to
the cardboard. Both glass
and cardboard should be set
at approximately a thirty
degree angle to the floor.
This is horizontal enough
so that the figure does not
collapse from its own
weight, and vertical enough
so that it is not necessary
to shoot straight down.

Of course the distance
between glass and back-
ground depends on how
large you vszant the shadow
on the background. If you
want to open the film by
parting the drapes, dis-
closing the dancer, these
can be placed on the glass

over the figure and can be
manipulated by hand in
single frame exposure.

One does not necessarily
need an advanced camera
to shoot a single frame at
a time. If your camera can
handle both sixteen and
eight frames per second as
does the model K Cine Ko-
dak, for instance, you can
record single frames by set-
ting camera at the slower
speed of eight frames, and
releasing the catch immedi-
ately after you have
pressed it. One frame at
a time is not so discourag-
ingly slow as it may seem.
The first few feet may go
slowly, but soon you will
catch on and the frames
will fly by. Of course it
is not necessary to shoot all
single frames. You can
have the figure hold a posi-
tion and truck-in for a
close-up, but be sure to
change the stop for expo-
sure difference.

When ready to manipu-

late the figure, remember
that she is simulating a
real person, and the laws
of balance must apply to
her as well. A dancer us-
ually has but one foot off
the floor at a time, so at-
tach the foot holding the
tv eight to the glass with a
small piece of scotch cellu-
lose tape. Even if she is
walking the feet would be
alternately stationary. At-
taching the foot to glass
with tape also keeps the en-
tire figure from shifting
out of position between
shots.

About the figure’s bal-
ance: remember that if an
imaginary line were drawn
perpendicular to the at-
tached foot, the weight
would be approximately
evenly distributed on either
side of the line. If the fig-
ure were standing on both
feet solidly, the line would
go to a point midway be-
tween them. When walk-
ing, the left arm swings

Movie of the Month

• Each month the editors 0"f
HOME MOVIES select the best
picture sent in for analysis and
designate it "The Movie of the
Month." This movie is given a
detailed review and a special
leader is awarded the maker.

This award does not affect the
eligibility of such films for entry in
the annual HOME MOVIES CON-
TEST. They are automatically en-
tered for rejudging with those
films submitted especially for the
annual contest. Films awarded the
honor of MOVIE OF THE MONTH
during the past 12 months are:

1940

NOVEMBER: "Father's Time,"
produced by Raymond Fosholdt,
Long Beach, Calif. A 16mm pic-
ture, 400 feet in length.

DECEMBER: "Spokane and The
Inland Empire," produced by Bur-
ton Belknap, Spokane, Washington.
A 16mm Kodachrome picture, ap-
proximately 800 feet in length.

1941

JANUARY "Three-Wishes" pro-
duced by Earl Cochran, Colorado
Springs, Colorado. An 8mm Koda-
chrome picture, 125 feet in length.

FEBRUARY: "Happy Landing,'
produced by Mildred Caldwell,
Long Beach, Calif. An 8mm Koda-
chrome picture, approximately 400
feet in length.

MARCH: "Home Town," pro-
duced by West W. Champion,
Fresno, Calif. A 16mm picture,
1600 feet in length.

APRIL: "Fledglings," produced
by Dudley Porter, Beverly Hills,
Calif. An 8mm Kodachrome pic-
ture, 150 feet in length.

MAY: "A Pain in the Night,"
produced by Rev. Raymond G.
Heisel, Elmira, N. Y. An 8mm
Kodachrome picture, 125 feet in
length.

JUNE: "Tropical Ecstasy," pro-
duced by Dr. Roy L. Gerstenkorn,
Beverly Hills, Calif. A 16mm Ko-
dachrome production, 350 feet in
length.

JULY: "Within These Hills,"

produced by J. Glenn Mitchel,
Joplin, Missouri. A 16mm Koda-
chrome picture, 800 feet in length,
with sound on disc recording.

AUGUST: "Dedication," pro-

duced by Alex W. Morgan, To-
ledo, Ohio. An 8mm. Koda-
chrome picture, 400 feet in
length.

SEPTEMBER: "Through the Win-
dow Pane," produced by Mrs.
Warner Seely, Cleveland, Ohio.
A 16mm. Kodachrome picture 400
feet in length.

OCTOBER: "Cock and Bull

Stories," produced by J. O. Mc-
Cracken, Glendale, Calif. An 8mm.
Kodachrome picture, 300 feet in
Length.

HOME MOVIES FOR OCTOBER

PAGE 489

forward at the same time
as the right leg. Also re-
member that the action will
look less stiff if the figure
is leaning forward slightly
and the head is in front of
the shoulders instead of di-
rectly above it. When the
feet are crossing beneath
the figure in the middle of
a step, the head is higher
above the ground than
when the feet are separated
in a full stride. See Fig. 2.
If this rule is observed, you
will find that your figure
will have that natural bob-
bing up and down apparent
in real life.

In knowing how much to
change the figure’s position
between shots, study the
actual frames of your films
of real people. It might
be a good idea to shoot with
the plan of projecting at
twelve frames per second
instead of sixteen. This
will necessitate a much less
number of frames to simu-
late the action. The ac-
companying sketch of skel-
eton drawings (Fig. 2) in-
dicates the approximate
number of frames needed
to record an individual
movement. With one foot
attached, swing the other
extremities in the indicated
positions. Shoot a frame,
and move the figure again.
Of course, continue the
moving and shooting rou-
tine until the action is com-
plete.

Although the major
movements may be the leg
positions, you must change
the arms and head also be-
tween each shot to keep the
action from being too stiff.
Next time you witness an
actual dance number, take
especial note of arm and
head movements of the
dancers. It is no trick to
put your dancer’s hands to
use by letting her hold her
skirts slightly off the floor.
Simply attach the drapery
of her skirt to the hands
with rubber cement after
she has gone through the
motion of leaning forward
and reaching down for it.

Try to avoid the mistake
of being over-cautious and
shooting too many frames.
There can be a considerable
difference in adjoining
frames and still look very
smooth when projected. A
dozen or fifteen frames is
about right for a high kick
round trip. When you run
across an action about

which you are dubious, try
to find a similar action in
one of your films of real
people. For instance, a per-
son rising from a chair
does not do so without first
leaning forward to auto-
matically place the weight
over the feet. If the ac-
tions are broken down and
studied in this manner,
more natural animation
will result.

Before shooting, it would
be a good idea to film a test
about five feet in length. In
this way you will find out
if movement of figure is
too slow, too fast, or too
stiff. Animating is not the
simplest of problems, so
don’t be too discouraged if
your test is not up to expec-
tations.

Don’t worry about ar-
ranging the drapes of the
skirt. Attach it at the
waist only and let it go
wherever action of the
legs forces it. It will be
more natural this way.

Working with the figure
on glass enables you to
have back-lighting in case
you wish a partial or solid
silhouette. In using it,
however, always keep your
eye open for reflections
from the floods bouncing
back into the lens. This dif-
ficulty is easily overcome
by correct light placement.

Now for the perform-
ance! The melody begins.
And immediately we fade-
in on dark crimson drapes

One difficulty we all en-
counter in filming closeups
is that thing called paral-
lax. In exposing for a
closeup, the camera finder
will not show the scene ex-
actly as the lens will pick
it up. Or perhaps we
should say, the lens will not
cover the same area as seen
through the viewfinder.
And the closer the camera
is set to the subject, the
more pronounced this dif-
ference becornes. This dif-
ference, or parallax is due
to the displacement be-
tween the viewfinder and
the lens. This displacement,
due to camera design, be-
comes nil at a certain dis-
tance which accounts for its

that silently lift to reveal
sheer blue curtains with
the dancer’s name scripted
gracefully across them.
These lightly float apart
and we see — the star in
person ! Trucking in we
get a smiling closeup as she
swings gracefully beneath
the cool light. Shots of
laughing eyes, of whirling
legs, and flowing skirts flit
by. As the music beats fast-
er, the lights turn warmer
until the turbulent rhythm,
the flying figure and the
scampering shadows reach
a smashing crescendo. As
the melody fades, the
drapes descend, the spot-
light sleeps, and another
performance sails into the
past.

The old tricks of colored
lights and cross shadows
can be used to advantage
here, and your solution will
be more professional if
your lighting and general
scheme is consistent with
the mood of the music. For
instance, cool lighting such
as blues, greens, and vio-
lets would be fitting for a
Hawaiian number, but, of
course, the opposite would
be true of “Bolero” and
similar selections.

And don’t make the mis-
take of using too much in
the background. Drapes
are one of the simplest and
one of the most effective
things you can use in set-
ting the stage for anima-
tion.

lack of effect upon medium
and long shots. But, as you
can see from an examina-
tion of your camera, it is
impossible not to get a dis-
placement of view when the
camera lens is located one or
more inches away from the
viewfinder.

On most cine cameras the
viewfinder cannot be relied
upon to focus accurately, in
relation to the lens, on a
field area closer than five
or six feet. The closer the
subject to the camera from
this point on, the more the
camera must be adjusted
for parallax.

Some cameras are equip-
ped with parallax adjust-
ments to compensate for

oSeupA mane a

Continued from Page 469

Le a di^^e

erence

Editor: The Complete Photog-
rapher; Co-Author: The Leica
Manual, Miniature Camera
Work, Synchroflash Photog-
raphy; Formerly Contributions
Editor: Life ^Magazine.

This beautiful 64 page
booklet brings you the
cream of the winners in recent
contests and exhibits! Subjects
include animals, birds, chil-
dren, babies, nudes, industrial,
landscape, still life, and action-
news shots. Every one a prize-
winner in its class.

SHOWS YOU JUST HOW
TO MAKE PRIZE-
WINNING PICTURES!

Beautiful reproductions with
captions giving complete data
on camera, lens, filter, film,
lighting conditions, exposure,
development, etc. In addition.
Editor Morgan analyzes each
print for its prize-winning
qualities, and gives you five
essential rules to follow for
success in taking and submit-
ting photos in prize contests.

MAIL COUPON AT ONCE!

This booklet is a gold mine of
interest and help for every
photographer. Mail coupon
now with dime to National
Educational Alliance, Inc.,
Dept. 12710, 37 W. 47th St.,
New York.

National Educational
Alliance, Inc.

Dept. 12710

37 West 47th St., New York

Yes, I want “60 Prize-Winning Photo*
graphs, on<l How They Were Made.” I
enclose a dime.

Name

Address •••• -

PAGE 490

HOME MOVIES FOR OCTOBER

Mansfield

FdtdTiivts 45/

Any Color

Your movies will have new life and
sparkle with added interest, when titles or scenes
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this difference ; others have
field areas for various dis-
tances etched upon the
viewfinder glass. Then
there are some cameras
that are equipped with two
finders which, when used in
conjunction with each oth-
er, enable centering the
lens accurately on the sub-
ject.

Another thing that must
be considered is that depth
of field decreases so that
sharpness of image is nar-
rowed down and focusing
becomes more critical, in
filming closeups. Few movie
cameras focus closer than
two feet and when the sub-
ject is nearer than this,
either shims or an auxili-
ary lens must be used with
the camera lens to obtain
the desired focus.

For sharp closeups, a
tape measure or ruler
should be used to determine
focusing distance ; for a
bad guess of only a few
inches will result in poor
definition and much fuzzi-
ness in detail. The one sure
way to increase depth of
field in closeups in which
all portions of the subject
will be rendered sharp, is
to close down the lens as
far as the light will permit.

The more light that can be
used on the subject, the bet-
ter this can be accom-
plished.

Amateurs frequently ask
about the oft-stated neces-
sity of increasing exposure
on closeups. Theoretically
this is true. But in practice
no increase will be found
necessary for closeups up
to eight or ten inches from
the camera, and even be-
yond this not more than a
third of a stop increase will
be found necessary. With
black and white film, the
latitude is usually sufficient
to take care of any error.
Those filming with Koda-
chrome usually report bet-
ter results when the lens is
opened a bit wider for
closeups of a few inches
distant.

For the serious worker
interested in obtaining the
correct exposure under
such conditions, it is well to
mention here the reasons
for it. Exposure is gov-
erned by the amount of
light reaching the film
through the lens opening.
This light is measured both
by the size of the lens open-
ing and the distance the
lens is from the film when
the subject is in focus. This
ratio results in the f. num-

ber, and on all lenses this
number is given for sub-
jects at infinity.

Suppose for a moment an
ordinary 1 inch lens is fo-
cused on a barn some dis-
tance away and the dia-
phragm opening is in
diameter. To find the f.
value, the diameter {y^) is
divided into the focal
length (1 inch) and the
answer is 8, or, as it is ex-
pressed, f.8. Now suppose
the lens is focused upon the
head of a grasshopper a
fraction of an inch away.
In order to focus this close
the lens must be placed
closer to the subject. Use of
a shim or extension tube
would be necessary, requir-
ing a different exposure
setting than if the lens was
used alone. But the prob-
lem of determining the ex-
posure would be the same.

Suppose it was found
necessary to move a one-
inch lens two inches away
from the film in order to
obtain sharp focus. The
diaphragm opening re-
mains the same, inch,
but the length of focus (fo-
cal length) is now two
inches. Dividing into 2
gives f.l6, so while the
marker on the lens indi-

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Weston

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Scheiner

Weston

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GENERA

100

125

100

16mm Positive

16mm Plenachrome

KIN 0 LUX

No. 1

No. 2

No. 3

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CONSUMERS

100

Superior-2 (Neg-Pos or Rev) Type 301

Panchro

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Colorcrome

Positive Type 600

1/6

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HOLLYWOOD

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EASTMAN

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100

125

100

Semi-Ortho

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16mm Safety

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8mm Super X Pan

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14*

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Kodachrome “A” (8 and 16mm)

18*

12*

Superpanex No. 100

100

Superpanex No. 24

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JRatings for last four Dupont films are for straight development. Ratings for reversal depend upon processing formulas and technique employed.

HOME MOVIES FOR OCTOBER

PAGE 491

cates f.8, the actual expo-
sure will be f.l6. The lens
must then be opened two
stops to f.4 in order that
a working exposure of f.8
will be realized.

This does not apply when
auxiliary lenses are used
for closeups as their use
does not increase the focal
length, but changes it en-
tirely. For this reason no
increase in exposure will
be found necessary when
auxiliary lenses are em-
ployed.

Merely because a subject
is too far away does not
mean that closeups are out
of the question. Telephoto
lenses were invented for
just this purpose — to pho-
tograph objects that can-
not be approached close
enough for a good picture
with a standard lens. Some
of the best closeups of
birds and nature life have
been made with the use of
telephoto lenses.

There’s one nice thing
about closeups, they’re easy
on the pocketbook. That is
to say, closeups do not

in the same succession of
scenes as you will view it
as a spectator.

What do you see after
you take your seat on the
fifty yard line? Probably
the school band is maneu-
vering on the field. Per-
haps players of both teams
are warming up on the
field. Certain it is that the
cheer leaders will be in ac-
tion, urging spectators to
“give” their all for their
alma mater. Capture shots
of all these details from
where you sit and when
your picture is flashed on
the screen, all the atmo-
sphere of the actual game
will be there.

If you’ve arrived early
enough, and providing you
made the necessary ar-
rangements to gain en-
trance to the playing field
with your camera, get down
on the side lines and pick
up some closeups of the
players warming up; the
coach giving last minute in-
structions, etc. And, if pos-
sible, remain here for some
closeups of plays after the
first kickoff. Of course

need to be as long as ordi-
nary scenes. There is no
rule governing their length,
but in practice it seems to
work out that they can be
about half as long as ordi-
nary scenes. Four or five
seconds seems sufficient.
But when in doubt make
them longer, for they can
always be trimmed to prop-
er length when the film is
edited.

Where should closeups be
placed in our film? Let’s
go back to the flower gar-
den. The entire garden
was first seen as we en-
tered ; then some particular
part of it; and finally our
eyes rested upon the indi-
vidual blooms. In the early
days of making movies,
scenarios uniformly provid-
ed for sequences of long
shot, medium shot, and
closeup, and no one has
been successful, for very
long at least, in changing
the original formula. The
reason is simply that this
is the natural manner in
which a subject is seen by
the human eye.

you’ll want to get the kick-
off filmed from a higher po-
sition, but you can do this
later. Get your sideline
closeup shots as early as
you can.

Before climbing back to
your seat, get a few re-
action shots of the specta-
tors cheering, rising to
their feet suddenly at some
startling play, and closeups
of the cheer leaders going
through their routines. All
of these shots you’ll need at
the editing board to cut in
between shots of plays to
accent interest. You just
can’t start a football pic-
ture cold, with distant shots
of vague players scram-
bling between gridiron
stripes. It won’t mean a
thing to your audience, nor
to you two or three months
later.

Back in your seat, you’re
now ready to settle down to
film the game from the
most advantageous position
— high up in the grand-
stand, If the game’s in one
of the big stadiums with a
maximum seating capacity
of eighty or ninety thou-

sand people, you’re really
going to be some distance
from the scene of action re-
gardless of where you sit.
In such case, it will almost
be necessary that you have
a telephoto lens on your
camera if your action shots
are to look sufficiently in-
teresting on the screen. A
regular lens just won’t
bring the play up close
enough. And if you use a
telephoto, this means you
should use a tripod, too.
You can use your regular
tripod for this, with legs
telescoped, and held firmly
between your legs. Then
there are a number of unl-
pods — one legged tripods
on the market for just such
use.

You cannot hope to get
every exciting play that oc-
curs, for unfortunately
they cannot be anticipated
in advance. What thrilling
plays you get will be most-
ly the result of luck, unless
you are prepared to film all
of the action and discard
all but the best action shots
in editing. Whatever you
do, don’t try to include the
entire game in your com-
pleted picture. You’ll find
the suggested introductory
shots coupled with a well
selected sequence of play-
ing scenes and highlighted
with intercutting of reac-
tion shots, will make a far
more interesting picture.

A good technique in film-
ing the action is to cut
quickly to the result. In
other words, when the ball
is passed or punted, center
your camera on the sender
of the ball, but don’t try to
follow the ball with your
camera as it goes through
the air. Instead, swing
your camera and focus it
directly on receiver of the
ball and pick up the action
from that point, profes-
sional-like.

Take time out to capture
more atmosphere and reac-
tion shots here. If you can
control yourself at the
height of an interesting
play, train your camera on
spectators near you as they
re-act to result of the play.
Also, get additional shots
of the score board — that is
if the game is really inter-
esting and not a scoreless
tie.

Between halves, the
bands will again maneuver

^'ootlaii movie pattern

Continued from Page 467

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PAGE 492

HOME MOVIES FOR OCTOBER

PRESENTS

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on the field. Probably stu-
dent groups will cavort in
comic antics or, as in games
where colleges like Univer-
sity of Southern California
take part, colorful exhibi-
tions will be given in the
opposite grandstand by
means of various colored
cards manipulated by stu-
dents according to pre-
game instructions. In Ko-
dachrome, this can be a

highlight of any football
movie.

A good ending to the
game sequence and one
easy to film is a shot of the
time keeper, eyes on his
watch, followed by a shot
of firing of gun that ends
the game. These two shots
can easily be faked, filmed
at home after the game.
The logical shots to follow
are those of students

swarming on the field, then
traditionally tearing down , |

the goal posts. '

You could easily end
your picture here, but some I

may wish to keep on film- |
ing, showing the crowds J ■

leaving the stadium, groups '

chatting or arguing over
the result, concluded with
an insert shot of newspa- ' f

per headlines announcing
results of the game. <

ei/iewd an

• Continued from Page 477

he wants him to bring.
Mother takes him to the
corner mail box to post it.

Comes Christmas morn-
ing and we find him on the
floor near the gaily decor-
ated tree playing with his
toys, etc. The picture closes
with shots of the boy play-
ing both in and out of
doors.

Relating this simple con-
tinuity, of course, does not
reveal the many special
touches given the film
which went together to
make it of three-star cali-
bre. Among these are splen-
did lap-dissolves, fades, and
exceptionally good camera
v/ork.

Photography : As already
stated, this phase of the
picture is very good. Ex-
posure and focusing is
above average. Most scenes
are indoors and filmer suc-
ceeded well in keeping the
two-year-old lad always
within range of camera and
lights.

Editing: If any scenes
are a little lengthy in this
picture, it must be under-
stood that the rules that
call for close cutting of
scenario or photoplay pic-
tures do not necessarily
prevail in editing record
movies of children where
every frame of a scene is a
cherished bit of the child’s
personal history. A few
scenes could have been
shortened and still be ac-
ceptable to the filmer and
those in his immediate
family.

Titling: Titles were nice-
ly worded, well exposed,
and centereiL-

Equipment: 8mm. Bolex
Camera with 1/2" f/1.5 and
11/2" f/2.9 lenses; Baia
Cine Transito, Jr. ; tripod ;
exposure meter; and four

criticisms

^iimS

No. 2 Photofloods in re-
flectors.

"UTAH— LAND OF SCENIC
DISCOVERY" ★★★

350 Ft. I6mm. Kodachrome — By R. V. T.

Continuity : Here is a

pictorial record that falls
short of the Movie of the
Month class because of lack
of sustained continuity. It
is replete with scenes and
sequences unexplained by
titles — scenes which other-
wise are quite interesting
on the screen.

In a later sequence de-
picting such spots as Bryce
Canyon, the continuity is
more or less understand-
able, but still, titles would
help to make the picture
more interesting.

Photography: It is the
splendid photography of
this picture that saves it
from a lesser award than
three stars. Composition
is above average, highlight-

ed by “on the nose” expo-
sure and consistently sharp
focusing. Entire picture
apparently shot with cam-
era mounted on tripod ex-
cept in scenes of boating
and swimming on lake
where camera was neces-
sarily hand held and pic-
tures shot from speeding
boat.

Titling: Aside from the
main title, and one or two
division titles, this picture
is sorely lacking in this de-
partment. In view of the
good material at hand, this
filmer should set to work
and completely title this
picture with ample descrip-
tive captions. Especially
should the audience be giv-
en the identity of the vari-
ous buildings in Salt Lake
City which are pictured, as
well as the various points
covered by the camera
throughout the picture.

a^ocumen tar(

Continued from Page 479

ly and remains ever in the
background, as good narra-
tion should.

The increase in documen-
tary production is attribut-
able to many factors, none
of the least of which is the
war. Desire to see actual,
unposed scenes of the for-
eign conflict is resulting in
an interest in “non-fiction”
pictures of all types. Docu-
mentaries dealing with war
themes will doubtless ap-
pear quite often during the
next few years.

Technique of the docu-
mentary is also changing
as more experienced

writers and directors tackle
this type of film. Notable
among the leaders is the
aforementioned “Forgotten
Village,” with its story for-
mation and dramatic treat-
ment. Action, vital to a
movie worthy of the name,
is observed more often as
are other characteristics
now deemed necessary in a
successful motion picture.

Continued development of
technique in filming and
p r e s e n ting documentary
Pictures, will undoubtedly
increase favor for this type
of motion picture with the
general public.

HOME MOVIES FOR OCTOBER

PAGE 493

•TITLE TROUBLES-

By GEORGE W. CUSHMAN

A reflection of light, ei-
ther from the title card or
from stray light striking
auxiliary lens, would cause
a fuzzy rendition of part or
all of the finished title.

f I

I J. F you have any ques-

' tions pertaining to titles

or title-making, Mr. Cush-
man will be glad to answer
- them. Address him m care
of Home Movies or his res-
' idence, 5004 Stanton Ave-
• nue, Ames, Iowa. In ex-
' plaining your title troubles,
j include information such as
I type of equipment used,

I || film, light source, and

: i where possible, send along
; a sample of the title film.

! E n c 1 o s e a self-addressed
stamped envelope if you
I wish an early reply.

l| Several readers have
called our attention to the
. ” error which appeared in
J this department in the

i August issue concerning
making lap-dissolves on
positive film. Apologies

■ ^ are due Mr. Cushman as

well as our readers for the
erroneous explanation that
! resulted in briefing and
editing Mr. Cushman’s an-
swers to readers’ letters.

[ Vij The explanation given in
! '! the August issue applied to
I making lap-dissolves in
'' filming titles on positive
film by the fading method
where opening lens dia-
' ! phragm is employed to ob-
I tain a fadeout.

I ;i To set everybody right,
j the original question and
j correct answer follows. —

■ h; Editor.

I 1 1 Q. Can a lap-dissolve be
j I made with positive film ? It
j ' would seem the fades would
i ji act just the opposite, since
i f! everything else is just re-
;;; versed with this emtdsion.
j, Ij How can dissolves he made,
' if at all? — B. S. W., Wau~
ji! watosa, Wis.

I’

A. Lap dissolves on posi-
tive film are made no dif-
ferently than on any other
film. One title is faded out,
the film wound back and
the next title faded in — the
same as with reversal film.
Too much contrast incur-
red when developing the
film is likely to result in
uneven fades, and as in
most photographic prac-
tices, a few tests are ad-
vised.

Q. Frequently the titles I
make appear slightly out of
focus on the left side when
screened, and I am ivonder-
ing if fault lies with pro-
jector or with camera used
in filming titles. — A. A. L.,
Colorado Springs, Colo.

A. Several things may
cause the trouble you de-
scribe. First step is to ex-
amine, with a magnifying
glass, one of the filmed ti-
tles giving this trouble to
determine where fault lies.
If overall detail in film ap-
pears sharp, then the fault
obviously lies in projection.
If one side of lettering ap-
pears out of focus on film,
then the fault is with your
camera or the auxiliary
lens used in titler.

To check projector,
screen another film and ob-
serve it closely to deter-
mine if the scenes are fuz-
zy or out of focus on the
left side — a condition which
often goes unnoticed until
titles are projected. If this
condition appears, turn pro-
jector lens in its mount
gradually to the left and
then to the right, as in fo-
cusing, and observe, if by
doing so, right side of pro-
jected picture is thrown out
of focus when left side is
made sharp, and vice versa.
Should this be so, then pro-
jector lens is defective or
needs factory adjustment.

If projector lens proves
o. k., then the camera
should next be checked. If
camera lens is causing
trouble, then all picture
scenes as well as titles
should show up with the
same fault you describe. If
your pictures are o. k., then
the auxiliary lens in the ti-
tler may be at fault. Fre-
quently the dime store va-
riety used by many ama-
teurs in home made titlers
are none too perfect, opti-
cally speaking. If yours is
a title using, such lens,
make sure this lens is ac-
curately centered in front
of your camera lens.

Other factors which could
cause the out-of-focus ef-
fect you describe are as fol-
lows :

Uneven pressure on the
film gate which would
cause film to run through
either camera or projector
slightly off the established
plane of travel, would also
cause the out-of-focus re-
sult.

Q. My titles have been
developing in about a half
a minute and the quick de-
veloping time has some-
times caused streaks. If I
diluted the developer,
wouldn’t this increase the
developing time sufficiently
so that the streaks woidd
be avoided? What I woidd
like to know is, what is the
ratio betiveen dilution and
increased developing time
with D-72 full strength? —
M. C., Bowling Green, Ky.

A. If your titles develop
in D-72 in a half minute,
either of two things is
wrong: Your developer is
too warm, or you are badly
overexposing your titles.

Use D-72 at not over 70
degrees and develop for
two or three minutes. If
the titles are too black, as
they no doubt will be with
your present exposure, stop
down, or decrease the light
until the title is just right
when developed for this
time.

Diluting would increase
the developing time, but
you would lose snap and
contrast by so doing. Cut
down your exposure and
develop full time.

Q. I have heard titles
should he filmed in slow
motion. Why is this? — A.
M., Seattle, Wash.

A. Some amateurs have
used slow motion when
filming certain kinds of
wipe-off effects and in ani-
mation where movement is
involved, for the reason
that by doing so uneven-
ness in action is reduced to
a minimum. This is espe-
cially true in making wipes,
curtain rolls, etc. But the
illumination must be in-
creased or a large stop
opening used, and the ani-
mation and reading time
are, of course, speeded up
depending upon the degree
of slow motion used. At

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PAGE 494

HOME MOVIES FOR OCTOBER

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Case has pockets for camera, exposure meter, film,
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EVERYTHING PHOTOGRAPHIC

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Until you’ve actually tried making movie titles the easy
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hand-lettered movie titles with pencil, ink, crayon or paint.
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• The “A to Z” Title Maker Costs Only $2.00 •

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From Your Dealer or Direct
BAIA MOTION PICTURE ENG.
259 Gerald, Highland Park
(Detroit), Michigan

32 frames per second, the
animation must work twice
as fast and the reading
time be cut in half. At 64
frames per second, anima-
tion is speeded up 4 times,
and the reading time re-
duced one fourth. But in-

Fome

• Continued from Page 476

tions for lead titles. And
with color, as with black
and white titles, good sharp
contrast is essential.

In the filming of sub-
titles there is no need to
glamorize composition, as
in making lead titles, and
hence subtitles can be
made for Kodachrome
films with less trouble and
with a considerable saving
in expense, as we shall re-
veal here. But before pro-
ceeding, let us consider the
filmer who has some color
film left in his camera —
enough to shoot his titles.
To him let us give this bit
of advice : do not make
your subtitles each a flow-
ery masterpiece with many
colors and fancy lettering.
Subtitles should deliver
their message quickly, un-
hampered by decorative ef-
fects that cause the eye to
stray from the text.

In view of the simplicity
decreed for subtitles, it does
seem a bit extravagant to
film these titles with Koda-
chrome. And where actual
color in more than one tone
is not required in titles,
the economical method is to
shoot them in black and
white, then tint or tone the
film a color in harmony
with picture subject. This
applies to either reversal or
positive film. Positive film,
incidentally, is to be had in
a variety of tints with the
color already impregnated
in the celluloid base. Among
the colors available are am-
ber, yellow, blue, red, and
purple-haze. The latter
seems to be the most popu-
lar for Kodachrome picture
titles as its soft lavender
hue blends perfectly with
the average Kodachrome
scene.

Occasionally a certain
tint may.^be required in a
set of titles that is not ob-
tainable by tinting or ton-
ing or in the film base itself.
In such cases it is possible
to dye the film yourself with

creasing the animation
speed and reducing the
reading time to the right
proportions seem to this
writer to require more
practice than perfecting a
smooth wipe or other slow
motion effects.

flf/l

ing. economy

ordinary dyes obtainable in
the ten cent stores. Some
dyes give better results
than others and for this
reason it is advisable to
make a few tests with odd
strips of scrap film. It has
been found that positive
film will ordinarily take
such dyes more successfully
than reversal stock.

There remains just one
bugaboo that sometimes is
encountered in using black
and white film for color film
titles as just described.
Some, who have made such
titles and spliced them in
with their Kodachrome,
have found it necessary to
refocus their projector each
time a title appears on the
screen and this has given
rise to the speculation
about differences in the
gauge or thickness of the
two films — black and white
as against Kodachrome. In

most cases the fault lies
with the projector with
which the pictures are
shown. Some makes of pro-
jectors are so designed that
pressure plate in the film
gate bears against the emul-
sion instead of shiny side
of film. As most of us know,
reversal cine film enters the
projector gate with the
emulsion side toward the
lens. If the pressure plate
operates against the film
towards the lens, then any
difference in film thickness
will merely expand the
pressure plate, allowing the
emulsion side of the film to
ride unchanged in its es-
tablished plane of travel.

On the other hand, where
the pressure plate bears
against the film in opposite
direction — that is, toward
the lamp house — then any
difference in thickness oc-
curring in film during its
travel through projector
must necessarily alter plane
of the emulsion, throwing
image out of focus on the
screen.

Few, if any, late model
projectors are encumbered
in this way, and it may
safely be said that the ma-
jority of amateurs may fol-
low the economical method
for making colored titles,
as suggested above, with
little or no trouble.

^ke deader

• Continued from Page 462

countries. Film should be
in best of condition as my
film offered in exchange
will be in like condition.

— Wendell Vincent,
214 East 1st,
Hutchinson, Kas.

Gentlemen: I would like
to swap or purchase shots
of the Ozark lakes in Mis-
souri in 8mm. Kodachrome
— approximately 25 or 35
feet in length. I will swap
equal footage in color for
scenes around San Francis-
co Bay, namely: The Gold-
en Gate Bridge, Bay
Bridge, San Francisco
beach, the famous Cliff
House, and of any other
subject desired in this vi-
cinity.

- — Floyd A. King,

2770 Maxwell Are.,
Oakland, Calif.

Gentlemen : I wish to ob-
tain a shot on 8mm. film of

3^ea

President Roosevelt in a
press conference. As I
want to cut this shot into
a reel of Kodachrome it
should be printed on sepia
or lavender stock or be
tinted. If any amateur has
such a shot, professionally
made and reduced or other-
wise, I will pay cash or
shoot footage to order in
exchange.

— Bill A. Jones,

% The Daily Reporter,
Dover, Ohio.

Gentlemen: I would like
to contact someone in vicin-
ity of the Twin Cities that
could supply 8mm. Koda-
chrome scenes of down-
town Minneapolis and St.
Paul. I would also like to
have some scenes of fisher-
men actually bringing in
catches.

— Karl Rosenquist,
1603 Fourth Are.,
Rodtjord, III.

HOME MOVIES FOR OCTOBER

PAGE 495

MACVAN MFC. COMPANY

3829 El Cajon Blvd. San Diego, Calif.

Special cannera and lens alterations and
effects. Photographic apparatus.

FINE MACHINE WORK

THE ONLY flood-light that follows the camera
— models for either still or movie cameras.
ARTHUR E. GIBBS

I I92S N. E. Knott St. Portland, Oregon

At your dealery or write

MRHISDIV & MRHISOIV

Optical Engineers

B3S1 Santa Monica Boulevard Hollywood, California

For Your Movies

We know you're proud of your
16mm moviesi You've taken
great pains to make them pro-
fessional in every sense of the
word. We're proud of our titles,
too. Mr. Movie Makerl They'll
give your movies that Holly-
wood air. Our Kodachrome
titles sparkle with a brilliant
array of color.

SEND FOR FREE BOOKLET.

New HARRISON Duraline

MOVIE FILTERS AND KITS

These new screw-in type mounted filters, as Illustrated
above, are available to fit all 8mm. cameras having:
WoIIensak 1.9 and 3.5 lenses, including: Keystone,
Bell & Howell, Perfex and Revere. Sing:le filters . . .
$2.00 each — Complete Kits, containing Kodachrome Haze

Save Money! . . .

USE THRIFTY 16mm FILM

THRIFTY ORTHOTYPE

For OUTDOOR . . . non-halation
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THRIFTY Panchromatic $4.25

THRIFTY Super-Panchromatic $4.50

New prices effective at once. Greater cost of
production makes this small increase necessary.
California Buyers Please Include Sales Tax
Sold and Processed Only by

THRIFTY FILMS

Drawer 98, Watts Station Los Angeles, Colii.

First Time in 16mm Sound
LAUREL and HARDY

"Flying Deuces"

Write Dept. HM for free copy of 1941-42
catalogue. Specify sound or silent.

LEWIS FILM SERVICE

216 East First Street Wichita, Kan.

^^n^ofmatlon P 1 1 ^ S [

Football Filming (Fred
Jepperson, Altoona, Pa.)

Q. Is a regular half-inch
lens on an 8mm. camera
o.k. for use in shooting
football pictures from a
stadium grandstand?

A. A good deal depends
upon from what point in
grandstand camera is to be
used. If pictures are to be
filmed from the first few
rows, your pictures will be
more satisfactory than if
made from seat in upper
part of stadium. As you
go up you get farther away
from the scene of action
and this action will occupy
a very small portion of the
film frame.

Best results will be had
by using a telephoto lens
in conjunction with your
regular lens to alter your
shots from long to medium.
The telephoto lens will en-
able you to bring football
action right up close on the
screen.

Amplifier (J. M. Mc-
Grath, Laguna Beach, Cal.)

Q. I have just completed
building a set of dual turn-
tables for playing sound
and music with my films. I
wish to purchase an ampli-
fier to be used instead of
playing records through
my radio. Are these expen-
sive ? How powerftd an am-
plifier will I need?

A. A 4-watt amplifier is
ample for record playing
turntables where such are
to be used in the home or
small auditoriums. An am-
plifier of this size such as
the Knight can be had for
about $10.00. From this
point the sky is the limit.
Depends upon how much
you wish to pay. More ex-
pensive amplifiers offer
only more power.

Processing (M. J. B.,
Duluth, Minn.)

Q. I home process all of
my movie film and lately I
find the film full of nicks
and scratches in the emul-
sion. What causes this?
Woidd a hardener solution
help prevent this?

A. The nicks and scratch-
es are undoubtedly due to

I • Readers: This department
I IS for your benefit. Send in
your problems and our tech-
nical board of professional
cameramen will answer your
question in these columns. If
an answer by mail is desired,
enclose addressed stamped
envelope.

carelessness in handling
your film during process-
ing. Best remedy is to be
more careful ; make sure
film does not contact solu-
tion trays or other objects
or that fingers, in holding
film for occasional exami-
nation, do not scratch emul-
sion. If you use bichromate
in the bleach, the film
emulsion should then be
hard enough so that no
other hardening agent is
required. If your formula
calls for pemianganate, you
will undoubtedly need a
hardener. If you use bi-
chromate, or permanganate
and a hardener, you should
dry the film with a viscose
sponge on both sides, then
go over back of film a half
dozen times with just an or-
dinary cloth. This will
take up every bit of water
and eliminate stain.

Moonlight In Color

(John Huefner, Salt Lake
City, Utah.)

Q. How can I similate
moonlight using Koda-
chrome?

A. Shoot your sunset
scene in normal manner
and when the film is re-
turned from processors,
subject the scene to a dye
bath. This will darken the
film yet allow all the col-
ors of the scene to be re-
tained in subdued tones.
The dye used should be
black. Fotofade, such as
sold for making fades, is
good for this purpose pro-
vided it is diluted. The
scene should be immersed
in it evenly so dye will im-
pregnate film to same de-
gree the full length.

Other black dyes have
been used with success
such as Diamond Dyes ob-
tainable from drug stores.
Dilute such dyes in dis-
tilled water for best results.

Looking for a way to be sure of top-quality movies
without paying a price penalty? Here's your answer.

At ESS(TO’s low prices you can afford to take more
movies and better movies. You pocket a genuine saving,
and enjoy greater film satisfaction at the same time.

a good, wide latitude,
non-halo, ortho film for
sharp, brilliant results.
Weston 12.

ESSCO No. 8 Weston 8 serai-ortho | |

ESSCO No. 24. extra fast, Weston ^ a9 O 49 I 39

24-16 panchromatic, fine grain. . . J' Z I*

ESSCO No. 100. Pan, non-halo.

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in bright daylight J I I

FAST PROCESSING and return posUge included. Each
roll on daylight loading spool in metal box and strong
carton, ready for use in all standard cameras. 24 hour
processina. ORDER DIRECT FROM THIS AD. Stock up
NOW before prices rise. SI deposit on all C-O-D.
orders.

WR/TE FOR DESCRIPTIVE CIRCULAR AND
BARGAIN LIST OF FILM SUBJECTS

^ddco P^Uodi4cti

6117 S. Campbell Av.^QSQ Chicago

GOERZ

KINO-HYPAR
LENSES

f:2.7 andf:3

For regular and color
movies of surprising
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Focal lengths 15mm to lOOmm — can be fitted
in suitable focusing mounts to Amateur and
Professional Movie Cameras.

GOERZ Reflex FOCUSER

— Patented —

For 16mm Movie Cameras — voids PARALLAX
between tinder and lens — provides tull-sixe
ground-glass image magnified 10 times. Adapt-
able to lenses 2" and up. Also useful as ex-
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GOERZ Parallax^Free FOCUSER
ind FIELD FINDER CONTROL

No more off-center pictures, tor Filmo 121 and
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For Detailed Information Address
Dept. HM-10

C. P. Goerx American Optical Ce.
317 East 34th St., Naw York

American LensMakers Sincc1899

PAGE 496

HOME MOVIES FOR OCTOBER

For SOUND

Tou can'f beaf the new
BERNDT AURICON

16mm. S.O.F. Recorder with
noise reduction unit for double
system recording . . . two

units complete

$695

W'rite for
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RCA 16ttim
SOUND
CAMERA

News Model:
with I inch F:

3.5 lens, batteries, and microphone $275

RCA Studio recording Galvanometer, metal
housing, connecting cable, not including opti-
cal system or Amplifier $125

Send for FREE Bass Cine Bargaingram

Dept.
H. M.

0ass

CAMERA CO>

179 W.MADKON (T
CHICAGO. I LU

Buy from Byron's, Washington

SAVE MONEY

on all MOVIE Equipment

;We carry a full stock of;
all nationally advertised
movie cameras and
equipment. We don't
have expensive price cat-
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we’ll quote you the low-
est prices.

One of the
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the East

Dept. HMA

BYRON’S, Inc.

425 15th Street Washington. D. C.

BETTER

BULK

FILMS

SAME PRICE FOR I4MM OR DOUBLE 8MM.
ALL FILMS HAVE ANTI-HALO BACKINGS.
PRICES DO NOT INCLUDE PROCESSING.

SPEED

100 Ft.

400 R.

RAPID-X-PAN

.... 100-80

$3.40

$12.95

SUPER-PAN

... 24-14

3.15

11.40

ORTHOCHROMATIC*

... 12- 4

1.75

4.00

SEMI-ORTHO

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1.30

4.25

♦This Orthochromatic

Film has

a heavy anti-

halo backing that is removed in the processing.

MACHINE REVERSAL PROCESSING— Double
8 or 14mm— 100 ft., 85c; 50 ft., 45c • 25
ft.. 50c.

All Orders Shipped Postpaid Except C-O.D.

CORONA FILM LABORATORIES
1028 NEW YORK AVE. BROOKLYN, N. Y.

CORONA

HOME MOVIE PRO-
CESSING is easy with
our light-proof FLEX-
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Write for prices on
film and Rev. Proc.
powders.

The FLEXON CO.

1910 Belmont, Chicago

• Continued from Page 478

Day in the P o d u n k
Schools” — may be new and
novel to the audience be-
cause it is the first of its
kind to be produced locally,
but has it sold the audience
on any part of the school
program? It is well to ask
which will be uppermost in
the minds of the audience
after leaving the showing
of such a film — the film, or
the school ?

Films just don’t begin
out of nothing and grow
into something, or at least
good ones do not. Films
should be recognized for
what they are — a form of
communication. The film
expresses an idea put into
it by its producer. If there
is no idea behind the film,
it is absurd to expect the
film to communicate an
idea to its audience.

To make the public rela-
tions film most effective
and most efficient • — and
there are plenty of films in
existence to prove that it
can be done — the film must
first of all have a reason
for being. Experience has
shown that best results are
obtained from the public
relations film when it is
limited to some special level

or phase of school work,
such as : the primary read-
ing program, intermediate
grade science activities, the
high school shops, the
school library and its func-
tion, the school’s lunch pro-
gram, and so on down the
long list that any local
committee can draw up
best for itself.

The production commit-
tee may first ask itself
some questions to help de-
fine the purpose of the
film : Is the film being used
to introduce some new
phase of the program ? Or,
will its purpose be to ex-
plain or justify some estab-
lished phase of school work
that needs more under-
standing from the commun-
ity? Will the film point
with pride to accomplish-
ments in some part of the
school’s program ? Or, will
it emphasize deficiencies
and plead for aid.

To produce a school film
just for the sake of making
a local movie is lots of fun,
but it’s even more fun to
produce one that does an
effective job of improving
community understanding
and appreciation of the
school program.

feurnin^

• Continued from Page 481

• •

script and schedule had to
be prepared in such a man-
ner as to permit working
within the normal class
hour as often as possible.
Filming had to be carried
on in crowded class rooms
and with previously unre-
hearsed groups, although
the action was rehearsed
and directed by Messrs.
Borza and Cope at the time
of shooting.

In order to minimize pro-
duction problems, each set-
ting was previously visited
and studied. Thus, furni-
ture and lights, arrange-
ments, and camera po-
sitions were- all planned in
advance and resulted in
valuable time economy.
Lighting problems were es-
pecially difficult when large
class groups had to be pho-

tographed. This was avoid-
ed to some extent by photo-
graphing smaller sections
of such groups at work, or
dissolving, depending on
the tempo of the action be-
ing photographed. In some
cases, the action was so
continuous in nature — as in
the case of pouring molten
metal in the foundry - —
that no control could be ex-
ercised, and the camera-
man had to shoot rapidly
at his discretion in order
to insure the continuity of
the sequence.

To the 1200 who attend-
ed this first showing of the
picture, it related the story
underlying Cleveland ex-
tension High School’s many
courses in academic sub-
jects, business education,
and technical skills. It also

portrayed the school’s con-
tributions to national de-
fense training and the ful-
fillment of its most import-
ant obj ecti ve — the provid-
ing of an educational op-
portunity for adults of a
great American com-
munity.

The film is now being
made available to civic
groups upon request to Dr.
Harry E. Ritchie, Director
of Adult Education, Cleve-
land Board of Education,
Cleveland, Ohio.

)

■ i
►

xperimen

• Continued from Page 483

here was lettered with pen
and india ink, using a let-
tering stencil. This same
method may be ^employed
for making typewritten
titles, but the letters will
not be as sharp.

— F. W. Van Deusen.

Absorbs Noise

To deaden the sound of a
too-noisy projector, place a
pad of sponge rubber be-
neath it. These pads are
obtainable in the five and
ten-cent stores at small
cost. They are particularly
effective in absorbing pro-
jector noise when record-
ings are played simul-
taneously.

■ — Fred Grousse.

Heel Containers

Cans or containers for
small reels of either 8mm.
or 16mm. film, i.e., 25 and
50 foot, are available from
most drug stores in the
form of “ointment tins.”
and many have a paper disc
inset in the lid which pro-
vides for labeling of film.

— Wm. McGee.

Save Those Spools!

Don't throw away those fifty
and hundred foot spools your
film is wound on when re-
turned from fhe processors.
Save them. The metal shorts
age already is causing grave
concern among film manufac-
turers and it is likely that a
general call will soon be sent
out to amateurs to supply
these spools. So if you've a
number of spools accumulated,
save them. They may be money
in the bank!

HOME MOVIES FOR OCTOBER

PAGE 497

For MOVIE

REELS

Safe, modern protection for your
reels. Keeps them clean and they
are easy to file and find.

MOVIE REEL FILE

Compartments for 9 metal reels
of 8 mm film. Size 8'/8x6%x5%‘"-
Index chart on inside cover.
Choice of blue, green, red or
black binding.

At stores or sent ^ ^ __
prepaid on 10-Days
Money - Back Trial.

Write for folder describing
these and other Amfiles for
Miniature Negatives, Flat
Negatives, Slides, Prints, etc.

AMBERG FILE & INDEX CO.

I&I3 Duane Boulevard Kankakee, Illinois

On Ut:iitlayt Photographic Dealers Show, Aug. 18, Chicago

NOW!

A High Quality
16mtn Reversible

Outdoor Film
leo-ft Roll $1 .98

For Only

Rating Scheiner 18

A High Quality
8mm Reversible

Outdoor Film
25 ft. Double 8 QQc
For Only

Fdsf Service — Processing same day included.
Ask your dealer or send money direct.

Write for prices on developing and processing
your Bmm and 16mm films — even if you bought
them elsewhere.

Visual Instruction Supply Corp.

1757 Broadway Brooklyn, N. Y.

FAMOUS KNIGHT METAL LETTERS
FOR MOVIE TITLES

Ask for sam-
ples of the
most beauti-
ful capital
and lower
case letters
made. Deluxe
sets. 225
pieces in case
with corner
pieces, twee-
zers and

cement $9.00

net, 160-

piece font $7.00. Specify white or black letters.

KNIGHT & SON

BOX B SENECA FALLS. N. Y.

|v wifA

^ METAL Letters

EASY

For Good Results — Load With

ONYX MOVIE FILM

Onyx 8 Ortho Onyx 24 Pan

100 feet 16 mm $2.00 $4.00

25 feet 8/8 mm .90 1.35

30 feel Univex .50 .90

RATINGS— 8- 24 FOR DAY.

Reversal processing free of charge.
Write for price list of other types of film
and chemicals for home processing.

KENWOOD FILMS
818 E. 47th St. CHICAGO, ILL.

Kodachrame

MAPS FINE TITLES

Geo. W. Colburn Laboratory

Special Motion Picture Printing

I I97A Merchandise Mart, Chicago

First Step to Successful Pictur^

Free illustrated cautlflR, crammed with hundreds of new
and used bargains. Lists everything photographic — still
and movie cameras, films, lenses, equipment— at tre*
tnendous savings. Liberal trade-in allowances. Satisfac-
tion guaranteed or your money back. 10-day InaL Wntc
lor your FKLE copy— just out. Hurry! i

CENTRAL CAMERA CO.'j®?*'

230 So. Wabash Ave., Cniwoyo, III. Since 1899

One ReJ Wopies

HOME MOVIE PLOT OF THE MONTH

Add-Shot Continuity

One of the perplexing
problems confronting the
average home movie maker,
after having shed the
chrysalis of cinamateur and
emerged a thickly emul-
sioned cinebug, is that of
utilizing accumulated odd
lengths of film that have
little or no relation to other
shots.

These unrelated bits are
not necessarily uninterest-
ing or inconsequential in
their theme or action. On
the contrary, they may be
beautiful scenically, or jam
packed with absorbing ac-
tion. Their only crime, like
that of alien refugees, is
that they don’t seem to be-
long anywhere. They sim-
ply are incompatible with
other material.

Now what to do with
these orphan shots, these
movie misfits? One happy
solution is a tie-up for this
apparently unrelated mate-
rial under a main title as
“Memories,” “Reverie” or
“Time Marches On.” By
weaving in a series of tran-
sitional subtitles under the
general caption of “’Mem-
ber the Time. . . .’’this sup-
posedly unusable material
will metamorphose itself
into a cine-opus of unsus-
pected enjoyment.

The general tie-up can be
a running gag consisting of
a character seated in a
lounge chair, perhaps at a
fireside, smoking and blow-
ing clouds of billowing
smoke into the air. As the
picture opens he is slowly
paging through a photo-
graphic album. His cigar
is long, and in the first shot
he flicks some ashes from
it onto the rug. As he
blows the smoke into the
air, the film dissolves into
a scene or sequence of
scenes which are none
other than your outcast or-
phan shots now appearing
as animated pages from
the photo album.

Between scenes the ac-
tion returns to the smoker.
He puffs some more and
again flicks ashes onto the
rug. A close-up now shows
a small pile of cigar ashes
accumulating. More billow-

ing smoke dissolves into
further interspersed mis-
fits.

The transitional d i s -
solves from the smoker to
the interspersed scenes can
be made by blowing smoke
across the lens while shoot-
ing, or by placing a fairly
large piece of dry ice in a
pan partly filled with warm
water somewhat below the
lens. The rising vapor thus
generated will simulate
smoke for a billowing dis-
solve.

Frequent cut-backs to
the smoker and close-ups
of the rug reveal the pile of
ashes rapidly enlarging.
This gag of a growing pile
of ashes is easily effected
by a series of cardboard or
stiff paper cones, graduat-
ed in size. These cones are
daubed with glue over
which fine, grey furnace
ashes are sifted. As the
shots of the smoker pro-
gress, the pile of ashes
seems to grow amazingly in
size. Reversely, as the pile
of ashes increases, the
smoker’s cigar must dimin-
ish in length.

For an amusing anticli-
max, or photo-finish with a
punch, the smoker’s spouse,
feigning anger, can appear
with a broom and dust-pan
and thrust them at her
mate with gestures indicat-
ing he had better sweep up
the ashes, or else! This
rude awakening from his
reminiscent reverie can ap-
propriately end the film.

— Herbert W. Kuhm.

J(e

eepin^

(Camera L

• Continued from Page 464

take care of themselves on
these trips. From the par-
ents’ response to the pic-
tures I feel quite certain we
can count on their consent
when the boys again wish
to go on a hike.

We also make and use
movies to study nature and
various campfire tests that
are not always possible in
regular field trips.

— William Glic\.

Brooklyn, Ff. T.

Make sure of your indoor shots

w.th VICTOR

SPECIAL activities around your home or
neighborhood demand movie making. That's
when VICTOR reflectors, whether clamp-on units
or stand mounted, prove their superiority. So
shaped that all the light emitted by your photo-
floods is directed evenly upon your subjects,
VICTOR Reflectors give you superlative results.
When you buy lighting equipment, INSIST upon
VICTOR reflectors — recognized as superior
throughout the industry. Any dealer CAN
supply you. For Free literature describing all
VICTOR Products, write

JAMES H. SMITH & SONS CORP.

1010 Lake Street Griffith, Indiana

OUtrUi^uiied

FILM TITLES

READY TO USE

_ 8mm Black & White

16mm (5 for $1.50)

™ Beautiful, hand illustrated
W film titles that give a pro-
I fessional technique to your
m home movies. ..and they cost
you far less than those you
could make yourself! To con-
vince you that these fine hand lettered and
illustrated titles are exactly what you want,
we will send you one complete title and a
swatch of twenty-five sample short ends
along with a list of over 250 additional
titles for only 25 cents! This to cover cost
of preparing and mailing -offered only to
prove that we can sell you a professional
title for less than 25 cents each! All titles
are sold under a 100 percent money back
guarantee. . .so mail the coupon below today!
Your own movies will show the difference!

PleAse send me one complete title and 25 sample
titles (short ends) along with the complete list of
titles for which I enclose the amount checked below.

■

CITY STATE..

LUMINITE FILM PRODUCTS

Suite 600, 408 S. Spring St., Los Angeles, Calif.

PAGE 498

HOME MOVIES FOR OCTOBER

Sot Clear, Fine
Quality OUT-
DOOR PICTURES

with

16MM

OUTDOOR

AMBERTINT FILM

per 100 ft. roll

$250

Machine processing, spooling and mailing in
eluded, (^lif. buyers include sales tax.

HOLLYWOODLAND STUDIOS

*'The West's Greatest Film Mail Order Hoitse**

SOUTHGATE CALiFORNIA

8mm SLITTER

Slits perfectly 16mm width film to exact 8mm
width. Die cast body with hardened steel
cutting wheels. New price, each. $2.50

DEVELOPING RACKS

Stainless steel, take 30 leet 16mm or 8 mm
width him. Can be used in 11x14 or 8x10 Hat
trays respectively. Complete with loading
stand each, $6.75. Specily type wanted.

At Your Dealer's or Direct

J. C. Haile & Sons

Motion Picture Dept.

215 Walnut Street Cincinnati. Ohio

CAMERA EQUIPMENT BARGAINS

8 mm. Revere F3.5 L.N., $25— F2.5 Ex.. $34.00;
Perfex Turret F2.5 L.N., $44.00; Keystone Pro-
jector. 300 watt 8 mm., $29.50; 16 mm. TOD—
F3.5 Case $95, with FI. 8 Case, $120.00; 16 mm.
70DA— Cooke F3.5 (2 Filters). $112.00; Cine Ko-
dak B— F3.5 $19.00, FI. 9, $39.50; Cme Kodak
Magazine FI. 9. Case, L.N., $84.50; Victor 3 F2.9
$49.50, Victor 5 FI. 5 Case, $110.00; Kodascope
B Projector, Automatic Threading, $40.00.

Projectors — Lenses — Tripods — Cases — Screens
Many others — Will accept trades — Will buy
CAMERA MART, Inc., 70 W. 45th St., N.Y.C.

Your Dealer for Movie and Still Supplies.
NEW Movie-Mite 16mm. Sound-on-film proiec-
tor $169.50. New and used films, trades.

JAMES A. PETERS

Commercial Motion Picture Service.

New Address; 41 South 4th St.

Dept. HM. Allentown. Pa.

16mm SOUND on Film

Recording Studio and Editing Facilities

BERNDT-MAURER RECORDER

GEO. W. COLBURN LABORATORY

II97-A Merchandise Mart CHICAGO

RAVEN SCREENS

For Theater Quality Projection

Raven Screens are inevitably selected by 6ne
cinematographers and theaters everywhere. There’s
a Raven Screen to fill every need. Write for
new catalog to Dept. 7-HM.

RAVEN SCREEN CORP.

314 East 35th Street New York City

Free 1941 Thalhammer Catalog

i24 pages chock full of inferesting
facts . . . Pictures of Thalhammer
tripods and accessories; this cata-
log can be yours by just writing
the THALHAMMER CO., 4663 San
Fernando Road, Glendale, Calif.

PROFESSIONAL 16'"/'” HAND LETTERED

"^flRTTITLES

KODACHROME

^lop

M. fACH

;s2??

HUmiPSof STOCK TITLES 2SC
m KODACHKOME S0‘msr«tm

BlACKfWNITE

OR AMBER

50sa

5|o?

FRANK BRODA 979iast 37 "st

CINEMATOGRAPHER BROOKLYN, N.Y.

Sound Dubbers

In the picture above, Reel
Fellows Mildred Caldwell
(at mike) and Clarence
Aldrich (extreme left) are
dubbing in sound and nar-
rative on a recording for
Mrs. Caldwell’s latest 8mm.
production, a travelog on
Hawaii which she will en-
ter in Home Movies con-
test. Assisting is Raymond
Foshold, also an unidenti-
fied movie amateur, assist-
ing at the sound controls.
All are members of Long
Beach (California), Cine-
ma Club.

Since Mrs. Caldwell’s re-
turn from Hawaii, early
this year much of her time
has been taken up with the
editing, titling and scoring
of her Hawaiian picture
which depicts her travels
from California to Hawaii
and return.

Reel Fellow Aldrich, fre-
quently a dark horse
in Long Beach Cinema
Club’s contests, also has
been active putting finish-
ing touches on the film he
will enter in the contest.
Aldrich won the Achieve-
ment Award for Titling in
last year’s Home Movies’
contest.

Brass City Chapter

Paul Kauneckis, vice
president of the Brass City
Chapter of the Reel Fellows,

Waterbury, Connecticut, re-
ports that members have
recently completed altera-
tions of the chapter’s club-
house to include a complete
little theatre where mem-
bers’ films are projected
regularly and extensive
home movie shows are giv-
en once each month.

This certainly is indica-
tive of the cooperative
spirit that goes into suc-
cessful club management, a
spirit which makes mem-
bership in the Reel Fellows
worth while. Paul Kau-
neckis and his associates
are to be congratulated for
the great strides their club
has made during its short
existence.

Mariners

Pictured here is the nu-
cleus of the S.S. Baranof
Chapter of the Reel Fellows
pictured aboard their ship.
From left to right are:
(Back row) T. E. Harris,
R. J. Grant. (Front row)
Leon F. Miller, J. M. Ro-

GARMUR
CABLE RELEASE
ADAPTOR

For smoother operation, greater film
economy, simpler manipulation of
single frame exposure action. Unit
easily attached and detached. lO-in. lock cable.
$2.00 models; Fllmo Companion, Sportster, 141;
Eastman 20 ,25, 60; Revere; Keystone K8. See
your dealer or write

GARMUR PRODUCTS

P. O. 6073 Metropolitan Sta. Los Angeles, Calif.
Also: Matus Camera Supply Co., 5208 Wilshire
Blvd., Los Angeles, Calif.

The BIG BOOK That
Tells You All About
'PRIZE' Enlargements

Fine projection printing
equipment for the seri-
ous worker. Write Dept
SP for FREE Enlarg-
ing Treatise.

Manufactured by

BURKE & JAMES, Inc. "^c\K.1iunois'

. . .

ESO-D

(at $1.30 per 25' dbl. 8mm roll,
processing included)* an attractive
violet monocolor film tor projec-
tion with your Kodachrome movies. Your first roll
will show you ESO-D is the distinctive film for your
outdoor movies.

Six other fine ESO-S films available for your movie-
making— our complete list is yours for the asking.
In bulk, on request.

^Available for single 8mm camerai
At your dealer’s, or order direct.

ESO-S PICTURES

"Quality 8mm Service”

3945 Central Streat Kansas City, Missouri

Photographic Products
of Distinctive Merit . . .

MOTION PICTURE SCREEN
and ACCESSORIES CO., INC.
351 Wejf 52nd Sf., New York City

The latest, most complete book on tit-
ling home movies which includes, in ad-
dition to complete plans lor building the
renowned Home Movies Titler. such data
as Title Area Chart, Lighting Chart, Di-
opter Lens Chart, How to Make Trick
Titles. Data on Use oi Shims for ultra-
closeups, etc. There's approximately 100
pages jam packed with vital information
lor every amateur movie maker. Cjl nn
Price, per copy (retail) ipi.UU

VERHALEN PUBLICATIONS

6060 Sunset Blvd., Hollywood, Calif.

HOME MOVIES FOR OCTOBER

PAGE 499

per, Duncan Cameron, and

R. E. Warwick.

Since application for
charter was first made, the
membership of this group
has trebled. Addition-
al membership applications
are being sent in as fast as
cinefilmers on other of the
company’s ships can be con-
tacted.

Any Reel Fellow who
might someday make a trip
to Alaska will always find
the S.S. Baranof Reel Fel-
lows ready to aid them in
any possible manner. The

S. S. Baranof is active in
Alaska waters.

Organizing

Mr. John Huefner, 606
Cortez St., Salt Lake City,
Utah, is interested in form-
ing a Reel Fellows Chapter
in that city and is contact-
ing other Reel Fellows re-
siding in Salt Lake for the
purpose of organizing the
chapter and recruiting
other movie amateurs in-
terested in joining the Reel
Fellows. Readers who may
be interested are requested
to communicate directly
with Reel Fellow Huefner.

Producer

Reel Fell ow Robert
Board of Long Beach, Cali-
fornia, recently formed an
amateur movie producing
group known as Valiant
Productions and has com-
pleted his first film for en-
try in Home Movies’ 1941
Contest. Titled, “Music In
The Dark,” it follows a mu-
sical theme and a preten-
tious musical background
of recordings is provided.

TO OUR READERS
We will appreciate calling our
attention to any misleading claim
made by any advertiser in HOME
MOVIES whose product or service
proves unsatisfactory.

1 I 11 [

Backgrounds

PAGE 500

HOME MOVIES FOR OCTOBER

uflumiB « floimismc

• Are you in the marhet

. . . for a camera, projector or some other article of
used cine equipment? Seeking bargains in films,
processing or titling? Then you'll find opportunities
in these classified ads!

O Have you sownethiny to sell

... or trade — some article of cine equipment you've
outgrown or no longer use? Turn it into cash with a
Home Movies classified ad!

FILM RELEASES FILM RELEASES

EQUIPMENT FOR SALE

• BASS SAYS: Save two ways — buy recondi-
tioned good equipment.

USED CAMERAS

16mm. Filmo 75, Cooke F:3.5 lens, $30.00.
Victor Model 3, F:3.5 lens, $35.00.

I6mm. Filmo 121 Magazine, Cooke F:2.7 lens.
$42.50.

16mm. Filmo 121 Magazine, Cooke F:3.7 lens,
$25.50.

16mm. Cine Kodak K, F:l.9 lens and case,
$52.50.

16mm. 100 ft. Cine B. F;l.9 lens and 3" Tele-
photo F:4.5 and case. $67.50.

16mm. Filmo 70DA, 15mm. wide angle, \"

F:!.8 Cooke, 3" F:3.5 Wollensak and case,
brown finish, $215.00.

16mm. Bolex with Primoplan F:l.5 lens, $245.00.
Bolex 8 complete (l2'/2mm. Kino Plasmat
F:l.5, 25mm. Trioplan F:2.5, M/2" Dallmeyer
3.5 and case, $267.50.

SOUND ON FILM PROJECTORS
Bell & Howell Model 138, single case. 750-
watt, with amplifier, $165.00.

Bell & Howell Model I20D, with amplifier,
750-watt bulb, $175.00.

In stock: New Bolex 8mm. or 16mm. new
Movikon 8mm. or 16mm., Bell & Howell
Auto Load Master turret models, Filmo-
master projectors and Ampro Projectors.
Don't horse-trade until you write Bass first.
Free on request: 84 page Bass Cine Bar-

galngram, an authority for silent and sound
equipment.

BASS CAMERA COMPANY
Dept. HC, 179 W. Madison St., Chicago, 111.

• FOR SALE: 16mm. Cine Kodak Special
with all latest attachments and the following
equipment:

I I" f:l.9 Lens
1 21/2" f:2.7 Lens

I 3" f:4.5 Lens
I 4" f:2.7 Lens
I 15mm. f:2.7 Lens
1 6" f;4.5 Lens

FILTERS

I U-12 Wratten-A
1 U-12 CK-3

I U-12 Kodachrome Haze
I U- 7 Kodachrome Haze
I U- 7 CK-3
I U- 7 Wratten-A

I W-Mount with Wratten-A — CK-3 and
Haze

1 1 Masks with case
I Case for Camera
I Eastman Tripod
I Eastman Tripod Case
I 16mm. E.K. Enlarger
Adapters for Tel. lenses
Camera and equipment all In A-l condition.
Best offer accepted.

S. P. PAINTING,

Toledo Scale Co., 40 Broad St., Boston, Mass.

• BOLEX, 16mm, f/1.4, sunshade, red and yel-
low filters, Weston Cine Meter — all like new,
$200.00. JOHN PUMPHREY, Panama City, Fla.

• SACRIFICE 8mm. lenses, like new: 1/2" f/1.4

Taylor-Hobson $65.00; M/2" f/3.5 B & H Tele-
photo, $30.00. CHARLES LORING, 49 Geary
St., San Francisco, Calif.

• CINE KODAK 8. model 20. f/3.5 lens. Takes

needle sharp pictures. Excellent condition,
$18.00. ROY HANKE, 21 Mariner St., Buffalo.
N. Y.

• I6MM. EASTMAN lenses: I" f/1.9, $24.00;

2" f/3.5, adapter, three Wratten filters and
holder, $39.00; 41/2" f/4.5, adapter, $39.00;
Cooke !" f/3.5 "C" mount, $9.00; Cine Spe-
cial case, $26.00; Bell & Howell accessories:
Mayfair F case, $16.00; alignment gauge,
$14.00, DuMorr wipeotf, $25.00; Filmo 70DA
with automatic dissolving shutter, rewind, film
slack takeup. Veeder counter, mask slot and
six masks. $165.00. 439 NO. LAUREL AVE.,

Los Angeles, Calif.

• PAWNBROKERS since 1858. Specializing lib-

eral loans on cameras anywhere in United
States. Free information and appraisal. H.
STERN, 872 Sixth Ave., New York.

• AUXILIARY Lens Kits — six supplementary

lenses of 16", 18", 2&", 24", 32" and 40"

focal lengths. Can be used on all tltlers
which provide for interchange of lenses. Also
ideal for general close-up photography. Com-
plete kit, $3.00. Separate lenses. 60c each.
Also available in 6", 8", and 10" focal lengths
^or ultra-closeup work. HOLLYWOOD CINE
PRODUCTS CO.. 3221 So. Figueroa St.. Los

Angeles. Calif.

SOUND EQUIPMENT

• DUAL TURNTABLE. 78 Rev. complete with
amplifier, horn and microphone used only a
short time, will sacrifice for only $60.00. Also
can furnish dual turntables for broadcasting
into your radio set. Recorders with Amplifier
from $60.00 up cutting at either 33-1/3 or 78
revs. Blank records for recording. At radio
and camera headquarters — SUMNER RADIO.
3307 W. 54th St., Los Angeles. Calif.

• HOLLYWOOD productions galore! Hun-
dreds to choose from! Bulk film. Bargain lists
yours for the asking. ERWINE'S CINE LAB-
ORATORIES, Allentown, Pa.

• ADULT FILMS, 8-16 mm. (not arts). Over
100 subjects! Lists, lens cloth, lOc. No post
cards answered. JENKINS, 392, Elmira, N. Y.

• SOUND and Silent Films exchanged, bought,
sold, rented. Bargains always. New Free lists.
FRANK LANE, 5 Little Bldg., Boston, Mass.

• 8MM. FILMS! Good amateur shots bought,
sold, exchanged. B & W — Kodachrome. Write
what you have or need. State length, descrip-
tion, price. RIEDEL FILMS, Dept. HM-I04I.
2221 W. 67th St,, Cleveland, Ohio.

• BULK 8mm. -16mm. films, cameras, projec-
tors, accessories. Castle, Official, Nu-Art, Ex-
clusive film library. AIRLINE PHOTO SUP-
PLY. Box 1739, Cleveland, Ohio.

• CLEARANCE Sale on used 8-l6mm. library
subiects. Films rented everywhere. Highest
prices paid for your film. New exchange list.
ASHA FILMS, 785 St. Johns, Brooklyn. N. Y.

• LARGE Selection — 8mm. films, 16mm.,

sound and silent. Send for your "Amateur
Movie Special" today. INSTITUTIONAL
CINEMA SERVICE, Inc., 1560-H Broadway,
N. Y. C.

• HAVE I6MM. sound seven-reeler Ken May-
nard, Gene Autry, In Old Santa Fe. Sprockets
perfect, scratched some, considerable splices.
$35.00 or swap for good feature or seven
shorts such as Castles. Will swap one reelers
even up. VAGABOND MOVIES. 1302 N.
Broadway, Council Bluffs, Iowa.

• WILL exchange 16mm. sound films with
other fans on even basis. Will buy sound
films. S. R. CLEVENGER. Dandridge. Tenn.

• NEW Rental Plan — rent 50 reels for $10.00!
400 ft. 16mm., 200 ft. 8mm. lengths, cartoons,
comedies, features. Films exchanged. Stamp
sends free list GARY FILMS, 369 E 55th St.,
Brooklyn, N. Y.

• UNIQUE NEW RELEASES— "Seven Wonders
of the World," sensational travel short span-
ning the globe, showing the majestic Pyra-
mids; China's Great Wall; serene Taj Mahal;
classic Acropolis; Grand Canal of Venice;
Leaning Tower of Pisa; Cleopatra's Needle.
Also "Rhythms of Passion," mankind's love
dreams expressed in the dance: Hawaii's sen-
suous Hula-Hula; Japan's Geisha Girls; tribal
rites of Ceylon Devil Dancers; weird rituals
of Bali. Either release, 16mm 100 ft. $4.00;
8mm. 50 ft. $2.25. Free lists. FRANK MAD-
DEN, 729 Seventh Ave. New York, N. Y.

• JUST RELEASED — "Death and El Toro," un-
censored truths of Mexican Bull Fights. Never-
before-shown thrills, action, gore, terrifying
closeups, complete from start to finish. Re-
quest catalog of subjects. MERCURY, 1157 N.
McCadden, Hollywood, Calif.

• 8-l6mm. FILMS — Free catalog (with sample
film lOc). PARKWAY EXCHANGE. 961 East
Parkway, Brooklyn. N. Y.

• FOR SALE 100' 16mm. exclusive, complete
picture of Indianapolis Speedway Fire. LAW-
RENCE GENARD, 1825 Lawndale, Indianap-
olis, Ind.

• EXCHANGE your old 8mm. tor brand new
comedies, cartoons, full subjects. Reasonable.
Mail us your list. ABBE FILMS, 1265 Broadway,
New York.

• 8-16mm. Films — silent, sound. Bought, sold,

exchanged. Films rented everywhere. Free
catalogue (with sample film, lOc). GARDEN
FILM, 317 West 50th St., N. Y. C.

DUPLICATING

• DUPLICATION, 8 and 16mm., 3c per foof,
minimum 50'. Information on request. NORTH
AMERICAN CINE LABORATORIES, 3636
Ffaynie, Dallas, Texas.

TITLES

• TITLES — make your own. Negative or posi-
tive film — 8mm. and 16mm. Attractive offer.
LEONE, 355 East 187th St., N. Y. C.

WANTED

• EYMO camera wanted. Will pay cash.
Give full particulars regarding condition, lens,
etc., first letter. ADDRESS Box 155, Deerfield,
Illinois.

• WANTED 16mm. sound negative and posi-
tive printer with instruction, motor drive.
Write me description and price. WHARTON
WINSTEAD, Roxboro, N. C.

• WANTED — one three-inch telephoto in type
C mount for 16mm. Bolex. P. O. BOX 2323,
Reno, Nevada.

• SILENT 16mm. features; sound projector,
any make; Zeiss Kinamo movie camera; Eyemo
35mm. camera. KENCHAL. 271 Madison,
West Hempstead, N. Y.

• USED UNIVEX 8mm. movie camera empty
spools and containers in quantity. How many
have you? FROMADER GENERA CO., Daven-
port, Iowa.

FILMS

• 8MM. FILM, including processing, daylight
loading, non-halation, 25 ft. 8/8mm., Weston
12, 85c; Weston 24-16, $1.25; Weston 64-40.
$1.50. RITTER FILM SERVICE, 629 Lyman
Ave., Oak Park, III.

• BULK FILM SPECIAL — First 50 customers
purchasing 400 ft. of either of the following
film will receive ABSOLUTELY FREE. 100 ft. of
same: Positive film — plain, lavender, yellow,
amber^OO ft., $3.85; W24-I6, 400 ft., $11.65-
W64-40, 400 tf., $12.6. R. B. CAMERA &
PHOTO SUPPLY CO.. 3357 E. 66th St„ Ceve-
land, Ohio.

• CAMERA FILMS — non-halation, fine grain,
100 feet 16mm., $1.95; double 8mm., 95c.
Screens, cases, library subjects, 50% discount.
Other bargains, NO-WAT-KA, 255 Main Ave.,
Passaic. N. J.

PROCESSING SERVICE

• MOTION picture processing, 100' 16mm.,
75c; 50' 16mm., 50c; 25' 8/8mm., 35c; 25'
8mm., 25c. RITTER FILM SERVICE, 629 Lyman
Ave., Oak Park, 111.

• GUARANTEED 8mm. 24-hour reversal and
negative processing. Single 8mm., 15c; dou-
ble 8mm., 45c. Spools returned. Catalog for
postal. ESO-S, 3945 Central, Kansas City,
Missouri.

BOOKS

Would you like to learn how to make your
own titles — what equipment to use — what ex-
posure to use — all about auxiliary lenses — title
areas, etc.? Woud you like complete plans for
building a very simple and versatile home
movie titler? Then send for "How to Title
Home Movies" — the latest and one of the
most authentic books ever written on the sub-
ject. Price $1.00 per copy. We pay the postage.
VER HALEN PUBLICATIONS

6060 Sunset Blvd. • Hollywood, Calif

PARALLAX DATA FDR CIIVE CAMERAS

The chart below supplies data for those interested information pertaining to all popular makes of cine

in building a parallax corrector as described by Robert cameras when same are to be used in making titles or

Brock beginning on page 474. It also contains vital centering camera on ultra closeups. Save this chart.

Make

Model

Size

RELATIVE POSITION OF VIEWFINDER AND LENS

Angle with
Horizontal

Distance

B & H

Sgl. Lens

8mm

Above

ii"

Right

ii"

55“

30'

lA"

B & H

Turret

8mm

Above

si"

Right

47“

B & H

141

16mm

Above

Right

Vs"

68“

Isi"

B & H

121

16mm

Above

Hi"

90“

Hi"

B & H

16mm

Right

11/4"

Bo!ex

8mm

Right

18J"

Bolex

16mm

Right

Hi"

IM"

Eastman

20 & 25

8mm

Above

2A"

Right

87“

15'

2A"

Eastman

^JyLogazine

8mm

Above

Right

ii"

84“

Hi"

Eastman

16mm

Above

Right

laV"

51“

IVs"

Eastman

16mm

Above

Ui"

90“

2Ji"

Eastman

Magazine

16mm

Above

2^ "

Right

li"

82“

2JI"

Keystone

K-8

8mm

Below

Right

15'

Revere

All

8mm

Above

I’/s"

Right

55“

50'

IVs"

Victor

16mm

Above

21/4"

Right

ii"

68“

15'

2M"

^04H^ Mo4MeA>

MAGAZINE

❖

Subscription
Order Form

I ORDER FOR SUBSCRIPTION

lome Movies Magazine

12 MONTHS FOR $2.00 IN U. S.

In Canada, $3.00; Foreign — $3X0
SPECIAL OFFER: 3 Years for $5.00 in fhe U. S.

^E MOVIES

Sunset Blvd. ^

rwood, Calif.

a New

n Renewal

State

□ Sift

ind to..

City..

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State..

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Enclosed find $ Date 19..

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NO SUBSCRIPTIONS ACCEPTED FOR LESS THAN ONE YEAR

...AS RIGHT AS THEY ARE

BRIGHT

YOU know the speed of your camera's
lens, of course.

But do you realize the importance of speed
in a projector's lens? The bearing it has upon
the sparkle of your screen images? For it isn't
just the light in the lamphouse that counts.
It's the amount that reaches the screen. Lamp,
reflector, condensing lens, projection lens —

all must team together to give you the kind of
brilhant, full-size pictures your 8-mm. movies
deserve.

That's just one of the reasons why these
Kodascopes Eight are so highly regarded by
informed cinamateurs. Mechanically, as well
as optically, Kodascopes Eight are designed
to make the most of your movies.

Ask your dealer for the full story

A KODASCOPE EIGHT-33 Newest of the new "Eights,” the "33”
^ is a smartly finished projector offering maximum projection con-
venience at markedly low cost. Standard equipment is a powerful 500-
watt lamp and fast //2 lens. 300- and 400-watt lamps are available.
Major operating controls are centered on a convenient side panel . . .
projection speed is adjustable . . . motor and lamp switches are inde-
pendent— you can rest the lamp during the rapid motor rewinding of
film . . . tilting and framing controls are readily accessible, positive in
action . . . snap-back film gate facilitates threading ... a useful car-
rying handle furthers safe and comfortable handling.

Kodascope Eight-33 is a far less costly projector
than its features and refinements would suggest.

KODASCOPE EIGHT-70 This tremen-
dously popular 8-mm. projector incorpo-
rates all the advantages of the "33” —
and then some. Same lamp setup, but a
faster /1. 6 projection lens which, as
part of the well-designed optical system,
produces maximum 8-mm. screen bril-
liance. Three-way control switch marked
"OFF,” "MOTOR,” "LAMP,” offers
fingertip control of major projection
functions. Permanently prelubricated
major bearings . . . tilting control at top
of pedestal base. The "Eight-70” looks,
and is, the finest of the "Eights.”

KODASCOPE EIGHT-70A This running mate
of the "70” duplicates every one of its many ad-
vantages, and offers in addition doubled screen
shows with every threading. A taller base and
longer reel arms permit the "70 A” to take 400-
foot reels — a 32-minute show at normal projec-
tion speed. For this single reason many cinam-
ateurs prefer Kodascope Eight-70A.

EASTMAN KODAK
COMPANY

ROCHESTER, N.Y.

# If you haven’t shown your
latest films with a modern Filmo
Pro j ector, a real thrill is in store
for you. A Filmo will give new
beauty to your color films, new
brilliance to all your movies.
It will reveal details that you
hadn’t suspected the camera
had caught . . . will give you
(and your friends) new respect
for your ability with a camera.

Your films will remain beau-

tiful, too, because Filmos pro-
vide complete film protection.
The film emulsion can’t touch
any stationary part of the Filmo
mechanism. And the straight
in, straight down, straight out
shuttle-tooth motion minimizes
perforation wear.

Take one of your summer
films to your Filmo dealer. Ask
him to show it on a Filmo Pro-
jector. Then judge for yourself.

Filtno-Master
8mm. Projector

400- or 500-watt lamp. Fast
F 1.6 lens, instantly inter-
changeable. Two-speed
focusing with focus lock.
Clutch. Two-way tilt at turn
of a knob. Metered lubrica-
tion. Complete with lens,
lamp, and case, $109.

Filmo-Moster
“400” 8mm. Projector

All the advantages of the
Filmo-Master 8 (left) plus
longer geared reel arms
which accommodate 400-
foot film reels, permitting
programs as long as 33
minutes. Complete, with
case, $ 123.

Filmo Master
16mm. Projector

750-watt lamp. Fast F 1.6
lens, instantly inter-
changeable. Clutch, re-
verse, and two-way tilt.
“Safe-lock” sprockets
prevent incorrect film
threading. Complete,
with case, $159.

ITou Get

All-GEAR DRIVE

in These Three
'Projectors

and a//-gear drive, in
Bell & Howell language,
means that a// power
transmission, visible
and invisible, is accom-
plished without chains
or belts. No oily reel
spindle belts to handle.

No internal belts to slip
and fray. No chains to
wear, jerk, and become
noisy. But positive, quiet
drive, always.

fifniOSOUnd "Academy” Permits entertaining at home with
the finest professionally produced sound films. Easy to operate.
Shows silent films, too — you can trade in your Filmo silent
Projector on a Filmosound. Ask your dealer for a demonstra-
tion and for trade-in allowance.

Would you like to supplement the travel
films you took this summer — to add beau-
tifully-made I6mm. color films — so that
you’ll have complete records of the beauty
spots you visited.^ Bell & Howell Filmo-
sound Library now makes this possible by
offering 400-foot I6mm. silent films in
color on:

Yellowstone. Geysers, hot springs, paint
pots, falls, wild life.

Grand Canyon, North rim, Kaibab deer,
trail to river.

California. Redwoods, San Francisco,
Yosemite, Death Valley, Boulder Dam.
Northwest Mountains. Glacier Park,
Mount Rainier, ascent of Nisqually Glacier.
Indian Life. Zuni, Navajo, and San Ilde-
fonso Indians.

Utah, Desert, Great Salt Lake, Bryce
Canyon.

Mount Rushmore. Rare views of gigantic
heads sculptured on a Black Hills moun-
tain.

Also 13 color films of foreign lands,
I6mm. and 8mm,

For details on these and other films to
round out your own travelogs, write for
Filmosound Library Supplement 1941-A.

Castle Films, Too, from Bell & Howell

All the popular Castle films of world news,
sports, adventure, travel, and cartoon com-
edies are available from B&H Filmosound
Library. Prices are low. Send for free
catalog — 100 subjects.

Send for These Film Catalogs

All the vast resources of the Filmosound
Library are presented in three catalogs,
one each on recreational, educational
and religious films. Free to I6mm. sound
projector owners; 2 5c each to others
Send coupon. Bell & Howell Company
Chicago; New York; Hollywood; Wash
ington, D. C.; London. Established 1907

BELL & HOWELL COMPANY
1825 Larchmont Ave., Chicago, 111.

Please send complete information about:
( ) Filmo 8mm. Projectors; ( ) Filmo 16mm.
Projectors: ( ) Filmosound Projectors;

( ) Our Colorful World travel films in coIof.
Send ( ) Castle Film Catalog; Filmosound
Library Catalog of ( ) recreational, ( ) edu-
cational, ( ) religious films.

Price 25c

YEARLY SUBSCRIPTION, $2.00

ytraiy O'

*Dick" ]V hittingtoj

■ IV'

IVovember • 1941

LARGEST GIRCULATIOM OF ANY AMATEUR MOVIE MAGAZINE!

I I

“I’m not

thu Star . . .

but I’m a importunt acter in the new series of
Walt Disney cartoon films Hollywood Film
Enterprises have fer home movie perjecters.’’

“Yuh can see me in:

Donald Ducl<*s Super Service

No. I45I-B. 200' 16mm, $6.00—100' 8mm, $3.00

^ Donald Duck the Fireman

No. 1453-B. 200' 16mm, $6.00 — 100' 8mm, $3.00

Donald Ducl<*s Singed Feathers

No. I65I-Z. 50' 16mm, $1.50 — 25' 8mm, 75c

w Donald Duck Red Hot

No. 1 654-Z. 50' 16mm, $1.50 — 25' 8mm, 75c

^ Donald Duck the Smoke Eater

No. 1555-A. 100' 16mm, $3.00—50' 8mm, $1.50

^ Donald Duck to the Rescue

No. 1556-A. 100' 16mm, $3.00—50' 8mm, $1.50

Mickey Mouse's Repair Shop

No. 1608-Z. 50' 16mm, $1.50—25' 8mm, 75c

There are scores more Mickey Mouse and Donatd Duck cartoon
films listed in our latest catalog. Write for your copy today —
It’s FREE!

SviP®^

1 a r'

p3' ‘

IDLLYWDDD FILM EIVTEHPRISES, me

60G0 SUNSET BOULEVARD

HOLLYWOOD, CALIF.

DV1SORY EDITORS

L A. K. BAUMGARDNER

I fi Peoria Cinema Club

ER BEZEK . yi

Chicago Cinema Club

JAMES BIALSON ^

Amateur Wotion Picture Club of St. Louis

MOSS BROWN

j Dallas Cinema Club

I^LTER BRACKEN

The 8-16 Movie Club, Philadelphia, Pa.

jAUDE W. A. CADAREHE

I Los Angeles 8mm Club

I EMERSON GLYMA

Detroit Society of Cinematographers

IlSSELL A. DIXON

Pittsburgh Amateur Cinema Club

i'RIL DVORAK-

Suburban Amateur Movie Club^;

ITHUR E. GIBBS g

Portland Cine Club

i.YA.HOOK

Seattle 8mm Club

IFRED F. KAUFMAN

, Indianapolis Amateur Movie Club

iiE. NESTELL

Cinemen Club

aRCISSE a. PELLETIER ^

Toronto Amateur Movie Club

lILBERT B. PETERSON

Metropolitan Cine Club

IDME RIEBETH

Minneapolis Cine Club

I THEO. ROTH

Sherman Clay Movie Club

I 0. ROUNTREE

Bay Empire 8m«n Movie Club

I PAUL SNYDER ®

Norfolk Amateur Movie Club

SED E. SNYDER

Des Moines Y.M.C.A. Movie Club

. F. SISSEL

I Austin Movie Club

il. C. ENION SMITH

I Metro Movie Club of Chicago

{•red at Second-Class Matter, May i, 1938, at
I Postofiice at Los Angeles, Calif., under the
I Act of March 3, 1879.

iscription rates: U. S. $2.00 per year. Canada
I Foreign Countries, $3.00 per year. Single
I'ies 25c. Canadian and Foreign single copies

Reg. U. S. Pat. O//.

Member Audit Bureau of Circulations

CONTENTS FOR NOVEMBER, 1941

ITS NEW TO ME — By Cmebug Shopper 506

HOME MOVIES ARE EASY TO MAKE INDOORS — By Jac\ Irwin 51?

HOME MOVIES CONTEST WINNERS 514

THE BEST AMATEUR MOVIES OF 1941 — By J. H. Schoen 516

NOW — TO MAKE THOSE MOVIES SCREENABLE.' — By CurtlS Randall.... 518

FULL PAGE TITLE BACKGROUND — By A. R. Bowen 519

DUO'COLOR PROCESS FOR BLACK AND WHITE FILMS

By W. J. Seemann 520

HOW TO MAKE CELLULOID BACKGROUNDS FOR HOME MOVIE TITLES —

By George W. Cushman 521

WHAT YOU CAN DO WITH VARIABLE CAMERA SPEEDS

By William J. Bornmann 522

ANNUAL NEWS FILM OFFERS STUDY IN EDITING — By Fred Gross.... 52?

HOW AND WHEN TO USE FADES, DISSOLVES, WIPES

By Russell Dickson 524

WANT A ?'STAR LEADER FOR YOUR MOVIE.^— By The Editors 525

EXPERIMENTAL CINE WORKSHOP 526

THE READER SPEAKS 5?9

EXPOSURE TABLES FOR PHOTOFLOOD LAMPS 540

TITLE TROUBLES — By George W. Cushman 542

INFORMATION PLEASE — 54?

EMULSION RATING CHART FOR MOVIE FILMS 544

HOW I KEEP MY CAMERA BUSY..... 546

TITLE BACKGROUNDS — By Edmund Turner 547

NOVEMBER

NUMBER II

VOLUME VIII

REEL FELLOWS

A friendly fraternity of
movie amateurs sponsored
by Home Movies maga-
zine. Your membership is.
invited.

CHAS. J. Ver HALEN

C. J. Ver HALEN, JR.

ARTHUR E. GAVIN

PUBLISHER

ASSOCIATE PUBLISHER

EDITOR

OFFICE OF PUBLICATION

6060 Sunset Boulevard, Los Angeles, Calif.
Phone GRanite 5149

NEW YORK OFFICE
Everett Gellert, 62 West 45th Street
Vanderbilt 6-5254

GEORGE W. CUSHMAN

J. H. SCHOEN
Associate Editors

C. E. BELL

Photographic Editor

HOLLYWOOD'S MAGAZINE FOR THE AMATEUR

PAGE 506

HOME MOVIES FOR NOVEMBER

«*oiection
j better P»o> »

screen

No other
screen has
all its
features

New AUTOMATIC model
instantly ready for use.

Touch a convenient lever — the
tripod legs slide into position and
lock there automatically.

Merely turn the screen case — auto-
matically it locks into steady hori-
zontal position.

]. An effortless pull raises screen and
automatically locks into viewing
position — at ANY height, 17 to 50
inches from the floor.

AUTOMATIC

Self -locking . . . extra rigid
square tubing . . . adjusts to
any height, 17 to 50 inches!

N° other screen can equal this new Radiant in ease oi operation.

No other, we believe, can match Radiant's permanent, clean-
cut brilliance and definition. No set screws or plungers — just an
automatic lock into positive, perfect alignment without swing or
twist. Square tubing, strong, rigid. Screen surface always flat —
no sag, wrinkle or curl. Give your movies the projection they deserve
. . . ask your photo dealer for the new Radiant Automatic today!

FREE — For more pleasure
through better, sharper pic-
tures, write for new Illustrated
folder.

MANUFACTURING CO.

1140-6 W. Superior St., Chicago, III.

Jt’i III E W /o

By CiNEBUG Shopper

1 t|ii .11 Movie amateurs with a yen for
ana inrilis accumulating interesting com-
mercially made film releases for their movie libraries
will find in “Sporthrills of 1941” and “Zoo’s Who,” two

of the most entertain-
ing movies yet made
available to them. Both
are brand new releases.
“Sporthrills of 1941”
pictures such events as
the big invitational
Basketball Tournament
held this summer at
Madison Square Gar-
den ; 19 41 National

Open Golf Champion-
ship tournament ; Na-
tional Tennis Championships at Forest Hills; Whirlaw'ay
in her big race of the year; All-star baseball game be-
tween National and American league players ; A. A. U.
Track Meet; Annual Indianapolis Auto Racing Classic;
and as a fitting climax, the World Series games between
N. Y. Yankees and the Brooklyn Dodgers.

“Zoo’s Who” is a picture that will entertain grown-
ups as well as the kiddies. This reel brings a movie tour
of a great zoo right into your home. Depicts jitterbug
monkeys dressing, eating, and stunting as though they
were human. Pictures the antics of elephants balancing
on barrels, etc. Also, this film represents an unusual
study of Camels, Bears, Llamas, Lions, Leopards, Tigers,
Cheetahs, etc., in their natural surroundings.

Both releases are available in 8mm. in 50 and 180 foot
reels, and in 16mm. in 100 and 360 foot lengths and 350
feet in the sound version.

Official Films, 330 West 42nd St., New York City, are
the producers and the films are available at leading home
movie and photo supply dealers.

A new compact, semi-automatic dry
scraper type F-R Film Splicer has been
designed for home movies. For use with both 16mm. and
8mm. film, it is said to be easy to handle as its features in-
clude a scissors ac-
tion to cut both
films at once, an or-
iginal pop-up scra-
per and others
which assure per-
manent clean
splices. Supplied
with F-R Film Ce-
ment, it is priced at
$4.75. Fink - Rose-
lieve, 109 West 64th
St., New York City.

rp. I Luminite Film Products of Los Angeles have
lilies j^g^ announced titles, hand lettered, illustrated,
and ready to splice into your film. All ready are oyer
250 titles in either 8mm. or 16mm. size — black and white.
Each title is said to be long enough to be read twice by
the average person. The 8mm. titles sell five for $1.00,
while the 16mm. size sell five for $1.50. For 25c Luminite
Film Products, Suite 600-G, 408 S. Spring St., Los An-
geles, will mail one complete title, 25 sample short ends,
and their complete list of titles.

Film Splicer

I Ri

! 1

I ^

It)

’ f

I r

HOME MOVIES FOR NOVEMBER

PAGE 507

These world-shattering events
live again on your own home screen!

U. S. IN ICELAND!

RUSSIA’S FIGHT!

BALKANS INVADED!

SYRIA AND IRAQ CAPTURED!
CANADIANS SMASH SPITZBERGEN!
ROOSEVELT-CHURCHILL MEET!
FRANCE’S TRAGIC FATE!

U. S. DEFENSE GROWS!

HISTORIC SEA BATTLES !

Other Events that Made 1941 History!

For every projector owner a
priceless chronicle now and
for the years to come.

All Castle 16 MM are processed
by VAP-O-RATE.

All 8 MM Castle
Films are also
treated.

NEVER BEFORE has there been a year like this one! Here is destiny
filmed when it happened .. .where it happened ... as it happened— an
authentic, living, moving record of a mighty era.

Castle Films’ “NEWS PARADE OF THE YEAR” preserves for all time
the mounting pace of events, month by month, through an epic year
in world history! It is the only complete and authentic Home Movie
Review of the entire year!

For less than the cost of unexposed movie film, you can own this
astounding record of a world in turmoil. Don’t wait. SEND THIS
HANDY ORDER FORM TO YOUR PHOTO DEALER TODAY... NOW!

CASTIE films

Please send Castle Films’ "NEWS
PARADE OF THE YEAR" (1941) in the
size and edition checked below.

Name

Address-

State .

—

8 mm

Headline “7 tZ

50 Feet 1 • / O

Complete $|- cr\
180 Feet

16 mm.

Headline 7 C

100 Feet .Z./ J

Complete $Q "7 C
360 Feet O ./ D

Sound $1^

350 Feet 1/ .Jv

RCA BLDG.
NEW YORK

FIELD BLDG.
CHICAGO

RUSS BLDG.
SAN FRANCISCO

PAGE 508

HOME MOVIES FOR NOVEMBER

W'ollensak 16 mm Cine Lenses mean superb results . . .
movies full of life and sparkle — whether in color, in-
doors, telephotos, slow motions or wide angle shots.
Precision built to fit practically- all 16 mm cameras.

take THIS T ^ ot I'

borne YOU a Si aud

• ^ wr lasts 50 /

■pbotoqtaP^jSo°'i ^°-9 33-1/3“/°

M llo- 3- 33 ,,e. M

beioie- Same low t- _ b

Wabasb pbotolamP

ppl^OO.

HIGH “ACTINIC” LIGHT! 50% LONGER LIFE!

Detachable Swivel Socket

HANDIEST
SUPERFLOOD!

Built-in

Reflector

lust screw Wabash Reflector Superflood into
any convenient ligy._socket, turn the switch
and start shooting! Built-in, "sealed-silver"
reflector floods your subject with highly actinic
photographic light. Swivel socket holds light
where you want it. See your dealer.

Jr„ NEW

Elephant Round-up

Thrill action is the entertainment
substance of “Wild Elephant
Roundup,” recently released by Castle Films as part of
their fall home movie schedule. Adventure packed the

subject depicts in
closeup the struggles
of one white man and
twenty natives in
stalking and hogtie-
ing a huge African
tusker. Suspense is
the keynote as the
animals, trying to es-
c a p e t r ap s and
snares, stampede.
This release is avail-
able in regular Castle
Headline and Com-
plete editions 8mm. and 16mm. as well as 16 sound. Now
ready is the new Castle 1942 catalog listing and describ-
ing 100 different Castle films. To obtain this free, write
Castle Films, RCA Bldg., New York City, ask for release

HM 10.

Each month four new 8mm. color
pictures of 50 ft. length will be re-
leased by Audichrome Pictures Corporation, 2964 Broad-
way, Eagle Rock, Calif., to sell at $4.00 each.

The first four releases include “Floral Favorites,” “Cal-
ifornia Missions,” “Junior Midget Races,” and “New
Zealand Clipper.” The first release is a color subject of
rare and delicately colored flowers. “California Mis-
sions” include some of the most famous missions along
the Pacific coast. These were the early outposts of civili-
zation in the days of the Padres.

“Junior Midget Races” introduce the latest children’s
sports in which youngsters ride these small gas buggies
in competition with each other.

“New Zealand Clipper” pictures the first flight and ar-
rival of the clipper in New Zealand after making a 15,000
mile flight.

“Eight” In Eolnr

PH p 1.. The new F-R 8mm. Cine Action Editor is
r-n LQllor substantially the same as the

F-R 16mm. Editor introduced a year ago, but with sub-
stantial changes and improvements. Among the more
important of these
is the incorporation
of the Torrington
Needle Bearing. Also
featured are direct
viewing of image seen
through magnifying
lens and image
viewed in action.

Editor may also be
stopped for pro-
longed examination
of film. While a
small wattage lamp
provides maximum
illumination, gears
run smoothly and
without danger of
film abrasion and
there are no compli-
cated parts to get
out of order. Retail
price is quoted as $10.65. Fink-Roselieve, 109 West 64th
St., New York City.

QUcdle4njae/i QiueA

SQUARE TUBING IN BOTH THE
CENTER ROD OF TRIPOD AND
EXTENSION rSUPPORT

In the Da-Lite Challenger Screen square
tubing in both the center rod of the tripod
and the extension support assures positive
alignment of the screen surface and pre-
vents twisting.

Solid Square tubing (instead of a thin
metal strip) in the extension support gives
unequalled rigidity and strength. It makes
all sizes of screens from 30" x 40" up to
and including 52" x 72" hang perfectly
without sag, wobble, or possibility of the
extension rod bending, even when raised
to the highest position. No other screen
has this essential feature. It is an exclu-
sive, patented Da-Lite improvement.

AND ALL OF THESE OTHER VITAL FEATURES

Simplified Design — The extension rod
fits snugly inside the center rod tubing
of the tripod, yet it moves freely with-
out risk of injury to the fingers in its
operation. A flange at the lower end of
the extension rod extending through a
groove in the center rod tubing, con-
tacts the screen case and raises it, when
the extension rod is raised. There are
no extra movements. The Challenger is
unsurpassed for ease of operation.

Positive Screen Height — When the Chal-
lenger is raised to desired height a
spring latch pushes plunger into a
drilled hole in the extension rod and
locks it firmly in position. There is no
friction lever to slip. No thumb screws
to tighten.

Floating Center Suspension of Case as-
sures even tension for the two outer
edges of the screen and prevents wrin-
kling.

Sturdier Construciion — Steel stampings
only are used instead of castings (which
are liable to break). The handle
bracket encompasses the square tubing

instead of being attached to the thin
metal part of the case.

Genuine Da-Lite Glass-Beaded Surface —
This fabric, famous for its light reflec-
tive qualities, is recommended by all
the leading projector manufacturers
and is chosen by leading industrial or-
ganizations for their sales and training-
films (costing thousands of dollars) to
insure the brightest and clearest projec-
tion. Tliis finer surface is available on
all Da-Lite models, including the Chal-
lenger, and the only truly automatic
screen ever built for the home movie
fan — the electrically operated Da-Lite
Electrol hanging screen.

Greater Value — Volume production and
efficient i-»ianufacturing methods, per-
fected through 32 years of experience
account for Da-Lite‘s greater values.
You can get a Da-Lite Screen for ac-
tually less than your second choice
screen would cost. See the Challenger
and other Da-Lite Screens at your deal-
er’s! Write for literature! Da-Lite
Screen Company, Inc., Dept. 11 HM,
2723 No. Crawford Ave., Chicago, 111.

L/tV

To open legs, slip
collar down on
tubing and legs
lock automatically
at proper place.

The Challenger is
the only screen
that can be ad-
justed in height
merely by releas-
ing a spring
latch and raising
the extension rod.

PAGE 510

HOME MOVIES FOR NOVEMBER

TOPS

ON EVERY MOVIE MAKER's
GIFT LIST . . . /Ae

EXPOSURE METER

L •

Better Pictures The G-E meter will
tell you in a jiffy how to set your
camera for crisp, sparkling movies
or stills. Tlirilling color, too, because
it gives the accuracy you need for
rich color shots.

Protection from loss of shadow
detail or color — no pickup of “cheat-
ing” light from snow or sky. Ex-
fremely sensitire, too. In dim light
you use the dependable incident-
light method preferred by Holly-
wood experts for greater accuracy.

Dependability that you can always
count on. Sturdineffs — to take acci-
dental rough handling. Simplicity
that makes the G-E easy to
use. And a host of other features
you’ll like.

Ask Santa for a G-E exposure
meter (or buy it yourself!). At good
photo dealers everywhere.

$22.25

GENERAL ® ELECTRIC

^ 606-81-6336

Jr. NEW

Morgan Book “60 Prize-Winning Photographs” is title
of new booklet offered to amateur pho-
tographers for special price of 10c. Its 64 pages are said
to be replete with reproductions of the cream of prize
winning prints in recent contests and salon exhibits. It
shows how to make winning pictures through captions
that give data concerning each print. Editor Willard D.
Morgan, well known as a photographic authority, analy-
zes each print and gives five rules to follow for succes-
sion taking and submitting photos in prize contests.

Book is available from National Educational Alliance,
Inc., Dept. 127100, 37 West 47th St., New York.

Ampro Projector

Newest addition to the Ampro line
of 16mm. sound-on-film projectors
is Model YA. A portable unit, the permanently attached
projector and amplifier occupy one case, with speaker,
cables and two 1600-
foot reels filling an-
other. Finned lamp
house, large enough
to accommodate
lamps up to 1000
watts, is made of
aluminum and the
optical system is rig-
idly m o u n t e d and
aligned. All mechan-
ism is precision en-
gineered and cooling
is accompanied by
forced ventilation
from a centrifugal
fan.

Having both silent
and sound speeds,

Model YA is equip-
ped with a 750-watt

lamp and two-inch f/1.85 objective lens. Motor operates
on either AC or DC current, but the 50-60 cycle Ampli-
fier requires a 110-watt converter on DC. Dual Elliptical
Speakers are mounted in the Speaker Case. Retail price
as described is $324.00; with f/1.6 lens, $330.00.

Ampro has also developed the new Tri-Purpose Ampli-
fier PA-3. It has provision for 1 Ampere Exciter Lamp
and complete connection for two projectors with ampli-
fiers. There is also provision for two microphones and
two phonographs on any three channels simultaneously.
Complete in carrying case with tubes, two meters and
AC line cord, price is $175.00. Ampro Corporation, 2839
North Western Ave., Chicago, 111.

FROM THE

DECO

Ejector Film

-LlBBARYn

(ior 8 and 16mm movie reels and
cans)

Safe, compact and convenient
storage for your movie films.
A touch of the button brings
you the film you want — auto-
matically ejected. Outside and
inside removable index. All
steel welded construction —
strong and dustproof. Safety
catch and key lock protects film.
Recessed carrying handle. Felt
feet.

8mm CHEST

(Capacity: 12 — 200-ft. reels)

$4.95

♦♦♦

(Capacity: 12 — 400-ft. reels)

$5.45

Easy To Make Titles

Amateurs who seek individual
styling in the makeup of their
home movie titles will be interested in the unique “A to
Z Title Maker” which is especially designed for making
opening and lead titles. It consists of a booklet of alpha-
bet and figure patterns which may be traced to form the
complete title, either for color or black and white films.
The procedure is so simple, one does not have to be an
artist or even a good letterer to produce artistic lettered
titles equaling in quality those made by a skilled artist.

Pat Rafferty, whose film, “The Old Old Story,” was re-
viewed in the August issue of Home Movies, now uses
the “A to Z Title Maker.” “I am well pleased with my
“A to Z Titler,” says Rafferty, “And praise your charts
for their flexibility, variety, and particularly their profes-
sional-looking results.”

“A to Z Title Makers” are available from leading deal-
ers everywhere and are manufactured by A to Z Movie
Accessories Co., 175 Fifth Ave., New York City, N. Y.

♦♦♦

IGmm CHEST

{Capacity: 12 — 400-ft. reels)

$5.75

♦♦♦

Mail Orders Filled

110 West 32nd Street, N. Y.

World's Largest Camera Store
Built on Square Dealing

Revere Qua&^SX^u^/Hmf"

REVERE "88"
CAMERA

for sharper movies in
brilliant color or
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and many other ad-
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Complete with Wo!-
lensak F 3.5 lens.
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F 2.5 lens. $77.50.

MOVIES, SMOOTH SHOWINGS
AND FILM PROTECTION

Revere's time-proved 500-watt optical
system offers the finest illumination for
8 mm. projection. Ask for a demonstra-
tion and you will see why experienced
movie makers, as well as thousands of
amateurs, choose Revere for the clear-
est and brightest movies. Easy “3-
point" threading, two-way tilting, 300-
foot reel capacity, fast power rewind
and many other convenient features
assure theatre-smooth performances.
Revere's high standards of precision
mean many extra years of trouble-
free service. From every standpoint —
quality construction, advanced fea-
tures, and simplicity of design — the Re-
vere Projector is today's best value.
See Revere 8 mm. Cameras and Pro-
jectors at your dealersl Write for new
literature. REVERE CAMERA COM-
PANY, INC., Dept. IIHM, 320 E. 21st
Street, Chicago, Illinois.

has the basic features of the Revere "85" plus these addi-
tional refinements; duo-shield light diffuser, beam thread-
ing light, sensitive gear-tilting device, and deluxe carrying
case. Complete with 500-watt lamp, F 1.6 lens and carry-
ing case, $89.50.

-.0

REVERE MODEL 85 PROJECTOR

PAGE 512

HOME MOVIES FOR NOVEMBER

FROM THE ANIMAL WORLD!

In Two New Official Films

lii

EXTRA ■ I YANKS WIN CHAMPIONSHIP!

WORLD’S SERIES HIGHLIGHTS INCLUDED IN

"SPORTHRILL OF 1941''

An Official Film "Newsthrilf

See the thrilling highlights of the hottest
world series in a decade. In your own com-
fortable easy chair ... at a fraction of the
price thousands of fans paid . . . watch
Brooklyn’s beloved "Bums” fight it out with
the Yankees. But that isn’t all! You’ll see

“SPORTHRILLS OF 1941"

8 M M.

SHORT — app. 50 ft $1.75

FEATURE— app. 180 ft $5.50

the highlights of tbe whole 1941 Sporting
World. America’s fleetest track stars, Whirl-
away— in his amazing Preakness win . . . the

See your dealer today for these films. If he cannot supply you, use
coupon. Send for FREE 1941-42 Illustrated Catalogue of over 50 Films.

o FFiciAL Films

330 WEST 42nd STREET, NEW YORK, N. Y.

OFFICIAL N Y C

330 W. 42nd

. . . the historic Golf matches

. . . the classic

Indianapolis auto races, etc.,

etc.

IS MM.

SHORT— app. 100 ft

. . . $2.75 1

FEATURE— app. 360 ft

. . . $8.75 i

SOUND -app. 350 ft

. . $17.50 i

HOME MOVIES

Published In Hollywood
November 1941

j/.

ome mouied are

Necessary accessories
may be had for less
than one dollar

By JACK IRWIN

One reason some cine cameras lie idle dur-
ing winter months is because their owners never
have experienced the fun of making movies in-
doors. And the reason they haven’t, is usually a
lack of knowledge of the few and inexpensive
items of equipment necessary to shoot movies in-
doors under artificial light.

An expenditure of less than one dollar will fur-
nish the photoflood lamps and reflectors required
to make good indoor movie shots. Any cine cam-
era, loaded with the right film, is capable of mak-
ing good indoor exposures. Actually, lighting an
indoor scene is quite simple for the ordinary home
movie. One hears much talk of back-lighting,
highlighting, and similar effects which tend to
confuse the beginner if not deter him entirely
from attempting indoor filming. But truth is,
two Photoflood lamps in simple reflectors will pro-
duce all the light necessary for moderate closeup
shots.

For medium and long shots or in filming scenes
for a scenarized movie where the cast is spread
around the set, some of the professional’s lighting-
technique — mentioned above — must be employed.
But for the present, we shall deal strictly with the
beginning amateur’s lighting problems. The am-
ateur’s first consideration is, “What lighting-
equipment do I need ?”

Assuming the amateur wishes to make intimate
shots of the baby, or perhaps of the family gath-
ered about the festive table at Thanksgiving or
Christmas, requirements will be two Photoflood

lamps — No. I’s, costing 15c each, if shots are to be
closeups; No. 2’s, costing 30c each, if medium
shots of large groups are to be made — and two
suitable reflectors. Reflectors are a “must’’ in in-
door lighting. They gather and concentrate light
from the photoflood lamps upon the subject. With-
out them, much of the light is wasted, and ex-
posure tables calculated for photoflood lighting- do
not apply where reflectors are not used.

Least expensive are the collapsible paper re-
flectors marketed by Eastman Kodak stores for
20c per set of two. These are formed cone-shape
and inserted over the photoflood lamp before plac-
ing it in lamp socket of floor lamp or lighting
fixture.

Of course, at best, this is only temporary equip-
ment, but ample to give the beginning amateur
something adequate to work with in making in-
door movies. Usually, after the first indoor-made
movies are screened, the amateur will hasten to
acquire more permanent and rugged lighting
equipment. Here the sky is the limit, but for those
who have neither the time nor the mechanical
ability to fashion their own reflectors and stands,
lighting reflectors, standards, etc., are available
in a wide range of prices.

Probably the most popular reflector is the
clamp-on-type which obviates, to some extent, the
need for collapsible metal standards. These may
be clamped on backs of chairs, floor lamp stand-
ards, and for overhead lighting, to the framework
of chandeliers. The unit consists of a spun alumi-
num reflector attached to a standard lamp socket
to which is attached a spring wire clamp. These
may be seen advertised frequently in the pages of
this magazine.

The cinebug — the exploring movie amateur with
a mechanical turn of mind — will make his own
reflectors from aluminum utensils obtainable at
the five- and ten-cent stores. To these are at-

• Continued on Page S-fO

• Pictured above are
the recently developed
R-2 type of Photoflood
lamps which combine
the high power of the
No. 2 Photoflood with
a built - in reflector,
making separate reflec-
tor equipment unneces-
sary. Two such lamps
are ample to adequate-
ly light the average in-
door movie scene.

■1

513

PAGE 514

HOME MOVIES FOR NOVEMBER

ome jMotiiesi

®afeeg ^Pleasiure m ilnnouncms tlie l^imters! m its
Annual Amateur Jlome Jlobies Contest for 1941

Ctma Jiitbermcpcr

Isf Award — Family Films

Jforrcgt M- i&ellogg

2nd Award — Family Films

Violet Jgergtnann

3rd Award — Family Films

mil H. STones — S^o^epf) ^trcb

1st Award — School-made Films

ScWebcment atuariis

Joerman J^actcl

For Photography

(§lenn Jflitcfjeu

For Sound

J^aptnonb jfosftolbt

For Editing

Jbarolb iHloatS

For Technical Achievement

Cad Cochran

For Titling

Hong iScad) Cinema Club

For Best Club Achievment

ia. 0. fensen

3rd Award — Scenario Films

J^erman JHartel

1st Award — Documentary Films

Ml. M. Champion

2nd Award — Documentary Films

5. (Slenn jHittfjell

Lloyd Bacon Trophy winner lor
best picture entered in contest

3^a|mtonli 0. Ibeisel

2nd Award — Scenario Films

fbarrn ISubmarti

3rd Award — Documentary Films

3&aj»monli Jfosfjolbt

1st Award — Scenario Films

I. .1:

:iBi :

1941’s FIVE LEADING MOVIE AMATEDBS

1 — J. Glenn Mitchell, Joplin, Missouri, Lloyd Bacon Trophy Winner for
best film entered in contest; also winner of Achievement Award for
Sound.

2 — Raymond Fosholdt, Long Beach, Calif., 1st Award, Scenario Class;
also winner Achievement Award in Editing.

3 — Herman Bartel, New Rochelle, N. Y., 1st Award, Documentary Films
Class; also winner Achievement Award for Photography.

4 — Bill A. Jones (left) and Joseph Streb, Dover, Ohio, 1st Award in
School-made Films Class.

5 — Erma Niedermeyer, Milwaukee, WIs., 1st Award, Family Films Class.

• 1st Award — Scenario Class; "Father's Time," by
Raymond Fosholdt.

• 3rd Award — ^Documentary Class: "River Rhapsody,"
by Harry Downard.

• Lloyd Bacon Trophy winner, "Within These Hills,"
by J. 0lenn Mitchell,

• 2nd Award — Documentary Class: "Home Town,"
by West W. Champion.

• 2nd Award — Scenario Class: "Pain In The Night,"
by Rev. Raymond J. Heisel.

• 1st Award — Family Films Class: "It Runs In The
Family," by Erma Niedermeyer.

TH[ m] emiiTEUii

Announcing the winners of Home
Movies* annual amateur contest for 1941

Ladies and gentlemen . . . the
winners !

Hats off! — to the amateur movie
makers of America for the finest array
of amateur film productions ever to pass
in review! Home Movies’ 1941 Ama-
teur Contest is ended, but the fame of
its contestants is just beginning. For

• Winner in School-Made Films Class: "Second Date,"
co-produced by Bill A. Jones and Joseph M. Streb.

S C H O E N

among the winning films are some
marked by a perfection in amateur mo-
tion picture photography, continuity,
editing and titling never anticipated
when home movies were introduced as
a new photographic hobby.

Prize awards are as follows : for best
8mm. or 16mm. film entered in contest,
the Lloyd Bacon Trophy. 1st Place in
each class. Set of Dual Turntables.
2nd Place in each class, Photo-electric
Exposure meter. 3rd Place in each
class. Tripod. Achievement awards.
Special Trophy.

Nearly double was the number of
contest entries over those submitted
last year, pointing to the growing im-
portance of this annual competition.
Number of entries accompanied by
recordings was trebled. In the win-
ner’s circle this year were eight
16mm. films and three eights, al-
though among all films entered in the
contest the eights and sixteens were

inoviES 0

ill

pretty evenly divided. After the final
fadeout had descended on the screen be-
fore the judging staff, the following
films were adjudged the winners:

Home Movies and Lloyd Bacon are
happy to present the winner of the

LLOYD BACON TROPHY
AWARD FOR 1941 —

Within These Hills, 800 feet 16mm.
Kodachrome, with music and narration
on disc, by J. Glenn Mitchell, Joplin,
Missouri.

Scenario Class

1st Place: Father’s Time, 400 feet,
16mm. black and white, by Reel Fellow t
Raymond Fosholdt, Long Beach, Calif.

2nd Place: Pain In The Night, 125
feet, 8mm. Kodachrome, by Reel Fellow
Raymond G. Heisel, Elmira, New York. \
3rd Place : Ten Pretty Girls, 400 feet
8mm. Kodachrome, by Anchor 0. Jen-
sen, Seattle, Wash.

1st

lliiiii

it,0

Family Films Class

1st Place: It Runs In The Family,
400 feet 16mm. Kodachrome, by Reel
Fellow Erma Niedermeyer, Milwaukee,
Wis.

516

PAGE 517

2nd Place: Vacation, 19 W, 350 feet
16mm. Kodachrome, by Forrest N. Kel-
logg, Long Beach, Calif.

3rd Place : A Christmas Greeting, 250
feet 16mm. Kodachrome, by Violet
Bergmann, Mount Vernon, New York.

Documentary Class

1st Place : Singing Shadows, 900 feet
16mm. Kodachrome, by Herman Bartel,
New Rochelle, New York.

2nd Place: Home Toivn, 1600 feet
16mm. black and white, by West W.
Champion, Fresno, Calif.

3rd Place: River Rhapsody, 225 feet
16mm. Kodachrome, by Harry A. Down-
ard, Jr., Redding, Calif.

School-made Films Class

1st Place : Second Date, 400 feet

16mm. black and white, by Reel Fellow
Bill A. Jones and Joseph M. Streb, Do-
ver, Ohio.

Activities of Main Street School, 650
feet 16mm. Kodachrome, by G. W.
Lasch, New Albany, Indiana.

Ascent of the Tooth, 400 feet 16mm.
Kodachrome, by Burge B. Bickford,
Seattle, Wash.

Capetown and Petrolia Wonderland,
300 feet 16mm. Kodachrome, by Jack
Tipple, Ferndale, Calif.

Bootlegger’s Luck, 150 feet 8mm. Ko-
dachrome, by K. C. Van der Molen, Kal-
amazoo, Mich.

Cock and Bull Stories, 300 feet 8mm.
Kodachrome, by J. 0. McCracken, Glen-
dale, Calif.

• Officers of the Long Beach Cinema Club
whose progressive leadership won for their
club the 1941 award for Club Achievement.
Left to right: Ted Phillips, 1st V. Pres.; Mil-
dred Caldwell, Pres.; Clarence Aldrich, 2nd
V. Pres., and Raymond Fosholdt, Sec’y.-Treas.

Day on the Western Front,
300 feet 8mm. Kodachrome, by
Ernest Eroddy, Denver, Colo.

Dedication, 400 feet 8mm.
Kodachrome, by Alex, W. Mor-
gan, Toledo, Ohio.

Fledglings, 150 feet 8mm. Ko-
dachrome, by Dudley Porter,
Beverly Hills, Calif.

Long Locked Lochinvar, 175
feet 16mm. black and white, by
J. H. Gawler, Washington, D. C.

Marco Potter, 325 feet 8mm.
Kodachrome, by Andrew Potter,
Berkeley, Calif.

Nani 0 Hawaii, 50 feet 8mm.
Kodachrome, with synchronized
musical disc recording, by Mil-
dred Caldwell, Long Beach,
Calif.

On the Spot, 400 feet 16mm.
black and white, by Demetris
Emanuel, Los Angeles, Calif.

Our Voyage To Japan, 2400
feet 16mm. Kodachrome with
synchronized musical and com-
mentary disc recordings, by Leon
Schrieber, Los Angeles, Calif.

Poi, 400 feet 16mm. Kodachrome, by
Earl J. Stephenson, Honolulu, Hawaii.
Honolulu, Hawaii.

Pueblo Indians of the Southwest, 2200
feet 16mm. Kodachrome, by E. P. Hunt,
Palo Alto, Calif.

River Rats, 400 feet 16mm. Koda-
chrome, by Ted Geurts, Salt Lake City,
Utah.

Sky Blue Water, 400 feet 16mm. black
and white, by Tom Swaja, Des Moines,
Iowa.

Song of Old Haivaii, 400 feet 8mm.
Kodachrome with synchronized musical
and commentary disc recordings, by
Mildred Caldwell, Long Beach, Calif.

• Continued on Page 528

,, I). Jensen.

Films Class: "Vacation, 1940,"

N. Kellogg.

• 3rd Award — Family Films Class: "A Christmas

Greeting," by Violet Bergmann.

Honorable Mention

flou,

• •

to make tli

ode movied

SCIUEIIOBU!

Careful cutting, editing and titling
essential for maximum audience Interest

By C U

• Family and friends
willingly respond to in-
vitations to home movie
screenings when films
are pleasingly present-
ed. Keep their eyes
glued to the screen un-
til the final fadeout with
good editing and titling.

RTIS RANDALL

If 3^11 the rolls of movie film you exposed
this summer were placed end to end — they’d
rnake interesting entertainment, providing a
little thought and time had been expended in
editing and titling. For it’s not so much what
one brings back on movie film as the way it’s pre-
sented on the screen that makes our cinefilming
efforts worth the while.

How many spools of film lay around indefinitely
in the processor s mailing cartons each season, no
one knows. But one fact is known and that is,
the average movie amateur’s antipathy toward
getting started on a splicing or editing job most
frequently lies in the lack of suitable equipment
for the job. There’s nothing like a cheap or make-
shift splicer, that consumes five minutes’ time to
make a splice, to deter even the most avid amateur
from editing his films. And where an average
sunirner s filming is allowed to accumulate and lay
unspliced and edited, a simple magnifying glass

is not adequate for the job of inspecting the many
frames of film necessary to a good job of editing.

So unless one is possessed of fairly good editing
equipment, his cine hobby suffers. And this is
no plug for any particular line or quality of spli-
cers, titlers, or editing accessories. Such equip-
ment is available at prices to fit the pocketbooks
of all. It is only that too few amateurs realize the
importance of these accessories in relation to
their other equipment — camera, projector, ex-
posure meter, etc.

Where one’s editing ambition is manifest only
in the limited activity of splicing the latest spool
of film onto the reel of accumulated filmings, a
splicer is essential. In other words, a splicer

• Continued on Page 5 37

PASTORAL on opposite page,
product of camera of A. R. Bowen,
Denver, Colorado, offers a delightful
title background for a summer vaca-
tion or travel movie.

518

^ JRlHi

HOME MOVIES FOR NOVEMBER

' I

• Scenes like this, when tinted and
toned, often surpass natural color on the
screen.

Maurice from Monkmeyer

Dyo-COIOK

pfoceAd

(o.

LiacL and wliite himd

HERE is a simple duo-color process which
the majority of movie amateurs have overlooked
as possessing not only possibilities for rejuvenat-
ing early black and white films, but also as a means
for imparting colors to any black and white films
exposed today. Moreover, the system offers the
one practical method for making multi-colored
titles for Kodachrome films without the necessity

of shooting them on Kodachrome. And most in-
teresting is the fact the coloring is applied by the
amateur himself, opening up still another avenue
of interest in the hobby of amateur movie making.

The widespread favor for Kodachrome has
caused much of the early black and white films
of pioneer movie amateurs to be relegated to stor-
age. It is the contention that black and white
films simply cannot compete with color when the
two are screened together on the same home
movie program. Yet among many early reels of
home movies are many scenes of unusual personal
or historical interest, in perfect screening con-
dition.

Briefly, this duo-color process involves the two
mediums of tinting and toning. The tinting pro-
cess affects only the gelatine base of the film. The
toning process imparts color to the emulsion, hav-
ing no effect on the celluloid base. Many amateurs
are familiar with one or both of these processes,
having used one or the other as a means of giving
a single color to black and white negatives. What
many amateurs do not know is that these two pro-
cesses can be combined to produce two and some-
times three distinct color tones in 8mm. or
16mm. film.

A woodland or forest scene on black and white film
can first be tinted yellow, then toned green. The
result will be that the shadows in the scene will
take on a beautiful green color; the highlights
will remain a clear yellow ; and the halftones will
be rendered a blend of the two. A sunset scene
consisting of clouds with the ocean in the fore-
ground can be given realistic coloring by first
tinting the film red, then toning it blue. The
clouds and the ocean will register a rich blue tone,
while the highlights remain red, and the halftones
will be a mixture of red and blue, giving a sort
of purple hue to those areas. Frequently these
effects are more startling than when the scene is
filmed in natural color.

In title making for Kodachrome films, the titles
may be shot on black and white positive or rever-
sal film, then tinted and toned, same as with regu-
lar scenic shots. This will produce a two-color
title — one color in the background and one in the
lettering. Unless there are middle tones produced
by fancy lettering with delicate shadings or the

• Continued on Page J32

• Pictured here are frame enlarge-
ments from 16mm. scenariied movie
made by author which was processed
in color, using the duo-color system.
Each scene was treated differently
depending upon locale and mood of
the story it represented.

. 520

HOME MOVIES FOR NOVEMBER

• Pictured here Is Ideal camera set up for
shooting titles beneath glass where celluloid
transparency backgrounds are used. Title
card and background are held in accurate
alignment under panel of plate glass on
title board.

muRe

^mun

/Another addition to the cine-filmer’s
already full bag of tricks is made as soon as he be-
gins to use celluloid negative “transparency”
backgrounds in title-making. Their advantages
are so numerous that it’s a wonder more amateurs
do not use them, but perhaps that is because they
do not realize how easy they are to make and use.

The entire process, in a nutshell, consists of ex-
posing a title through a piece of under-exposed
and under-developed cut film in the familiar di-
rect-positive manner.

The outstanding feature of the transparency
background is that it can be used over and over
again, with any wording. Once made, it is good
forever. Any background can be used for the
master, although dark backgrounds lend them-
selves best to this process.

After the background subject has been selected,
set it up in either sunlight or artificial light, and
take a picture of it with a still camera. The still
camera must be loaded with color blind, plain
“process” film. When developed, the resulting
negative should be very thin — so thin that the
image is scarcely visible when viewed to a weak
light. This, of course, means that the original
exposure must not only be lessened, but the subse-
quent development must likewise be reduced to a
minimum.

moviE TiiiEi;

By GEORGE W. CUSHMAN

Process film is quite slow, about as slow as posi-
tive movie film. Since under-exposure is required,
some comparison may be gained by saying that
the exposure should be about half that of the fast
super sensitive films. In the sun, 1/200 at f.ll
should be about right for the average background,
while indoors under artificial light, the same ex-
posure as that given fast pan film should be al-
lowed, since process film is much less sensitive to
mazda illumination.

The above, however, are only approximations,
and since the film is developed by inspection only,
more exposure would cause no harm. Too much
exposure would result in such rapid development
that streaks and unevenness would doubtless oc-
cur, and for this reason slight under-exposure is
recommended.

As for developing the process film, any developer

• Continued on Page S3S

• Pictures below sEiow
evolution of celluloid
background In nnaking
of a title. Fig. I shows
transparent background,
which is placed over
title card, making the
combined title card as
shown in Fig. 2. When
photographed on posi-
tive film and developed
as a negative, title ap-
pears as in Fig. 3.

Through on* of th* many
tunnels w* can see ' the great
Slone face” on Ml. Rushmore,
the largest carved memorj^al
in the world. - ^

HOME MOVIES FOR NOVEMBER

I ^

WLt

can

CIO wi til

uanaoie camera

!IP[EDi;

By WILLIAM J. BORNMANN

W/ HEN purchasing a movie camera, few
amateurs give much thought to the advan-
tages afforded by that feature which permits film-
ing at a variety of camera speeds. Indeed, the
cinefilmers are legion whose cameras provide
speeds from 8 to 48 or 64 frames-per-second, who
never once have used any but the normal 16
frames-per-second speed.

But a wealth of new adventure in cinematics
awaits the movie amateur who will first study the

Bornmann .

• These pictures illustrate type of action en-
hanced by filming af above normal camera
speed. Diving scenes filmed in slow mofion,
i. e., 64 f. p. s., permif unusual sfudy of fhe
acfion. Shofs made fhrough windshield of mov-
ing car (confer) will be minus fhe "jiggle" if
shof af 32 f. p. s. Parade scenes (righf) filmed
af 24 f. p. s. appear more normal on fhe screen
fhan when filmed af sixfeen.

o Mosf cine cameras feafure several filming
speeds which afford fhe movie amafeur
means for making many inferesfing cinemafic
effecfs.

use of variable film speeds, gain a thorough
knowledge of the effects use of each will provide,
and then go out and make the new and interest-
ing movies possible by shooting at 8, 24, 32, 48 or
64 frames-per-second. Not all cine cameras, of
course, provide all of these speeds. Some cam-
eras may be regulated to shoot at 8, 16, 32, and 64
frames-per-second while others provide for
speeds of 16, 24, 32, and 64 frames-per-second —
omitting the 8 frames-per-second speed but of-
fering the speed of 24 frames-per-second which
has been established as the speed for sound films.

To appreciate the value of multiple camera
speeds, it is necessary, of course, to fully under-
stand what may be accomplished with them. The
early studio cinematographers were the first to
make practical use of slow or fast camera speeds
in producing comedy effects. Those who remem-
ber the old Mack Sennet comedies will recall the
laughs that followed a scene of pursuing cops
traveling at rapid speed which lent a punch that
could not be gained had the scene been filmed at
standard speed. Movies in slow motion, filmed
with the camera turning at more than normal
speed, are familiar to all.

What can the amateur do with variable camera
speeds? Well, for one thing, he can produce the
comedy effects of early silent movies. He can film
slow motion studies of fast action events such as
races, football games, and other sports. He can
make nature studies of the growth of plants or the
opening of flowers. And where light conditions
and film emulsion speed do not permit shooting at
normal 16 frames-per-second speed, the camera
can be slowed to 8 frames-per-second to double the
exposure time and thus record moving pictures of
otherwise unphotographable events.

To understand the effect of slow or ultra-speed
filming on the screen let us start with the fact
that, when pictures are photographed at the nor-
mal speed of 16 frames-per-second and projected
at the same speed, action will appear normal on
the screen. This would also hold true where pic-
tures are photographed at 32 frames-per-second
and then projected at 32 frames-per-second. But
if pictures filmed at 32 frames-per-second are pro-
jected at the normal— and slower — speed of 16
frames-per-second, action on the screen will be
slower by one half. To film any picture at speeds

• Continued on Page 536

By FRED GROSS

i M OVIE amateurs who treasure good films,

I much the same as book collectors accumulate rare
or interesting volumes, look forward each year
j! to such new home movie releases as Castle Flms’
“News Parade of The Year,” which presents mo-
j tion pictures of nearly every major world event
!] of importance occurring that year,
i! In years to come, motion picture documents of

I this kind will increase in historic and education-
j al value, for certainly no 12 months of our gener-
ation have seen more world-shaking episodes take
place than those which have occurred during the
I past year. These events not only are making his-
tory, but this phase of history will stand out viv-
j idly as a milestone in world evolution,
i Imagine, for a moment, the value of a motion

fj picture that can be screened in our homes, ten,

I twenty, or thirty years hence, which will parade

I before us on the screen the very occurrence of
I events that destined the shape of world conditions
existing at that time. We may be able to “remem-
j ber when,” but how much more important it will
be to screen it!

In addition to the documentary value of this an-
nual film release, more and more movie amateurs
i are making it a subject of their study of film edit-
ing. With so much of the amateur’s movie-mak-
‘ ing consisting of short, “newsreel type” incidents,
a picture of this kind furnishes an excellent model
to pattern one’s editing by.

'The task of Castle Films’ staff in editing more
I than 17,000 feet of 35mm. film into a compact
1000 feet and then making this record available
on 8mm. and 16mm. film is, indeed, a big one, call-
' ing for the best of film editing ingenuity. But

523

the final cutting — the 1941 edition of “The News
Parade of The Year” will undoubtedly present
one of the finest editing examples ever made avail-
able to the amateur in view of the extraordinary
number of exciting events of the year which must
be represented.

Perhaps you can visualize the vast editing task
as you review the following recent events from
which the content of the “News Parade” for 1941
will be made up. Perhaps, as you recall newspa-
per accounts of these events, you can visualize
just how much footage of each you would allow in
a one-reel documentary of this kind.

Early in 1941 the lend-lease bill was signed. . .

• Continued on Page S46

• Scenes like these of
important world events
will feature the 1941 re-
lease of Castle Films'
"News Parade of The
Year."

It^ide tt'orld

Each has its place in
the mahing of a movie

By RUSSELL DICKSON

Of all the transition effects which are cur-
rently used in professional cinematography, the
fade, dissolve, and wipe, plus some montage ef-
fects, are easily at the disposal of the amateur
filmer as well. Such effects are familiar to most
movie amateurs, although there are yet a few who
are unfamiliar with the procedure or methods for
making them, as well as some who do not know
just when such effects should be employed in the
making of a home movie.

First to be considered is the fade — more prop-
erly referred to as a fade-in or fade-out, depend-
ing upon how it is executed. The fade, on the
screen, appears as a gradual fading out of a scene
from the full exposure range to complete opacity.
At the top of this page are enlargements from
three frames of 16mm. film which demonstrate
various stages of a well executed fade-out.

The purpose of a fade-out is to terminate a se-
quence much the same as a period ends a sentence.
The fade-in is employed to introduce a new se-
quence of action not directly related with the
scene which preceded it.

Fades may be made in a number of ways and

the most effective are those which are made dur-
ing filming, as opposed to those made chemically
afterwards by means of dyes, although the latter
are quite satisfactory when carefully made. On
the market are a number of automatic fading de-
vices, motivated by spring motors, which may be
started and stopped manually by means of a cable
release in the hand. Among these are the Baia
Cine Transito, the Bool Cine Fader, the Filmo
Fader, and the Harrison & Harrison Roto-fade.

Another accessory which produces satisfactory
fades is the Fading Glass. This consists of an ob-
long of optical glass graduated from clear to full
opacity and is gradually moved before the lens
to decrease exposure. One such fading glass
is that marketed by Harrison & Harrison of Hol-
lywood. Still another method for producing fades
employs a manual adjustment of the lens dia-
phragm ring, opening or closing it during filming
to make the fade effect. This method is effective,
however, only where there is sufficient latitude to
open or close the lens adequately to make a com-
plete fade effect. Should one be shooting at f/8
or f/11, for example, there would not be sufficient
latitude between these stops and the last stop —
usually f/16 — to produce a complete blackout of
the scene for a fade-out.

This last method is more popular with those
who make their titles by the direct-positive
method, where the usual diaphragm opening used
is around f/8 and where a fade-out is made just
the reverse, as when using reversal film, by open-
ing up the lens instead of closing down.

Chemical fades, as already stated, are made by
subjecting the processed film to immersion in a
dye solution such as Foto-Fade. Chemical fade-
making assumes importance where it is found,
during editing a film, that additional fade effects,
not obtained during filming, are required. Thus
it is a simple matter to place the fade-in or fade-
out where wanted, eliminating any necessity
for retakes to obtain the effect with the camera.

• Continued on Page 544

• At extreme left is enlarge-
ment from 16mm. picture illus-
trating one stage in the mak-
ing of a lap-dissolve. One
scene is faded in as the other
is faded out. At left is ex-
ample of wipe-off made on
16mm. film with amateur-made
gadget.

524

HOME MOVIES FOR NOVEMBER

HAVi

THIS

picm»

• • • •

To qualify send your
picture to the editors
for review and comments

By THE EDITORS

AR, priorities, or the increasing high cost
01 living will in no way affect Home Movies’ free
film reviewing service nor curtail the animated
leaders which are awarded films sent the editors
for review. The increase in number of films sent
us during 1941 indicates the amateur’s regard for
this helpful service; and the number of readers
who, having received an initial review of their
film, made the suggested corrections and returned
it again for re-review, points to the fact this serv-
ice is benefitting the cinefilmer.

No movie amateur need go on indefinitely
making mistakes in filming as long as this
service is available. Yet, occasionally we hear of
some who hesitate to submit their films for re-
view, feeling their humble efforts unworthy of the
trouble. However, no film is too small nor too
lengthy for the editors to review. The same at-
tention is given a short, 25-foot roll as to preten-
tious efforts running 1600 feet or more.

After each film is projected by the editors, crit-

icism is made and brief comments for improve-
ment are written which are enclosed with the film
when returned. To encourage readers to better
their movie making through this service, all films
reviewed are classified according to interest value,
photography, editing, and titling, and awarded an
attractive animated one-, two-, or three-star
leader.

The following reviews are published this month
for the information they contain that may be of
value to other filmers :

"MAGIC MUSH" ★★★

150 R. 8mm. — By E. U.

Remarks: The story on which this picture is
based has been filmed by other amateurs, but not
as smoothly and as near-technically perfect as was
done by this filmer. The continuity concerns the
sudden and magic appearance and disappearance
of people or things by the medium of trick photog-
raphy, while an embryo magician makes passes
with his magic wand. This is done by stopping
the camera in midst of the action and removing
or inserting a person or object within the scene,
then continuing filming. Here, good re-action
shots, properly intercut, make the illusion seem
more real, and this filmer has accomplished just
this to perfection.

Continuity : The opening scene shows a family

• Continued on Page 5 4 1

• Reproduced above
are frame enlargements
from the atiractive
leader given films sent
to the editors for re-
view. Leaders convey
a rating award of one,
two, or three stars — de-
pending upon continu-
ity, photography, tilling,
and editing.

525

PAGE 526

HOME MOVIES FOR NOVEMBER

TH[ EHERIMEHU I

Fncusinq Converter

Owners of Keystone 8mm. cameras
fitted with fixed-focus lenses, may en-
joy the convenience of a lens in focus-
ing mount with the simple expedient
illustrated here. On the mount of every
12.5mm. (V2") lens is a white mark to
which the iris diaphragm collar of lens
is set in order to obtain desired aper-
ture. This white line can also serve
as the basic adjustment point in con-
verting the fixed-focus lens to focusing.

First it is necessary to fit a paper
focusing scale, like the one illustrated
here, on camera case and adjacent to

lens as shown. The illustration is full
size and may be cut out and cemented
on camera for this purpose. Set the
footage mark 18 opposite the white
mark on lens when lens is screwed tight-
ly in place, and cement scale firmly in
place on camera.

Thus to shoot pictures at 2, 3, 4, 6, 8,
or 12 feet from the camera, merely un-
screw lens from camera until white
mark is opposite desired footage mark.

— R. W. Canard.

nut, threaded to fit the rod, is soldered
or bolted inside the spool to form the
core. Thus the spool is made to travel
along the threaded rod as it is turned
during loading operations.

Core of spool is enlarged by winding
it v/ith a section of old film, secured by
a strip of scotch cellulose tape. Thus,
by increasing diameter of core, traction
is increased and at same time diameter
adjusted so a single turn of 50-foot
spool will deliver just so much film to
drum, properly spaced. This is im-

portant, and proper diameter for core
of spool is determined as follows;

Suppose circumference of your devel-
oping reel measures 48". With 16mm.
film you will want to advance film on
reel %" with each turn. Therefore, the
50-foot spool will have to turn %xll
(11 representing the number of threads
per inch on threaded rod) or approxi-
mately 8)4 turns. To determine how
much you must increase circumference
of the 50-foot spool core, divide the fig-
ure 48 by 8)/^ which will indicate cir-
cumference of this spool should be ap-
proximately 6". A few trials with old
film will prove whether your calcula-
tions are correct, and any difference
can easily be corrected by adding to or
decreasing diameter of spool core.

— Fran\ Holes\i.

era in inverted position on a tripod.
Gadget consists of a strip of metal, ap-
proximately 2"x8" by 14" in thickness.

Holes 5/16" in diameter are drilled at 0
either end, as shown, which permits
placing one end of gadget over tripod fl
screw and mounting camera on other
end by means of a short 14^20 machine
bolt. When mounted on tilt-pan head, ^
pan and follow shots may be made as g
readily as when camera is mounted in ^
normal position.

— Stanley Jepson.

Continuous Printer

Owners of Univex projectors may
convert same to a continuous printer
and back again to a projector within a
few seconds, with no danger of damag-
ing or getting projector out of adjust-
ment.

All that is necessary is to remove the i jj
intermittent movement cover and then |
the intermittent claw assembly as indi- [
cated in illustration. This involves re- ' ;

moval of but five small screws. The 1
film to be copied is then threaded, along !
with the raw film, into the projector. I '
Instead of stopping momentarily for 1 f
single frame printing, the film travels f '
continuously past the film aperture, re- ! ' “
suiting in a better print. | ®

Film Loading Aid

Loading movie film on a developing
reel or drum in total darkness, or under
a safelight, is often a problem for be-
ginning home processors. This bugaboo
can easily be overcome by rigging up a
simple automatic loading guide as pic-
tured here.

It consists of a metal rod %" in dia-
meter and threaded 11 to the inch, sup-
ported in front of developing rack by
a wooden bracket at either side. Thread-
ed onto this rod is an ordinary 50-foot
projector spool which serves to guide
the film onto the processing drum, spac-
ing it accurately as winding proceeds.
The 50-foot spool has been altered as
follows: Spool is taken apart and spin-
dle holes enlarged to approximately %
of an inch. In reassembling, a large

Inverted Filming

By holding camera upside down, one
can produce some interesting trick
shots. However, in such instances, the
camera should be mounted securely on
a tripod. Sketch shows simple gadget
which permits mounting any cine cam-

For the light source, the regular pro-
jection lamp should be removed and re-
placed with a 15 or 20 watt frosted
bulb. The lamp house must then be
made light tight in order that no stray
light may reach the unexposed positive
film.

To re-convert machine for normal
projection use, the intermittent claw as-
sembly and cover is replaced.

— R. J. McCunney.

Wipe-off Maker Ik

Picture and diagrams show easily- **

built device I made for making wipe ef-
fects with my Model E Cine Kodak. It
may be used with any other make of r
cine camera, too. The base consists of
a board 9" long and 2" wide with quar- f,
ter-inch square moulding at the edges ^

HOME MOVIES FOR NOVEMBER

PAGE 527

UU WORKSHOP

to form a track. Between this track
travels a wooden block 3"x%". Into this
block is set a small mirror at an angle
of 40% from the camera lens.

To make a wipe-off, block and mirror
is moved along the track until it is di-
rectly in front of camera lens. When
in this position, the camera will record
the scene at right angle to left of cam-
era— gradually bringing this scene into
full position as the mirror is moved into
place.

This device is fastened to my tripod
head by means of a bracket shown in
Fig. C, which was constructed from a
piece of quarter-inch metal about 4
inches in length. This is fitted into a
small metal block attached to pan-head
by means of a small set screw.

Edge of mirror should be painted flat

black to prevent reflection of light. Al-
so important is fact both scenes in a
wipe must be of the same focal distance
— in other words, two long shots must
be wiped together or two closeups at the
same distance from camera.

— Owen Wilson.

Protection

Those who have accidentally sent a
roll of un-exposed film to the processors
will appreciate this simple idea which

I employ to prevent mixing rolls of un-
exposed with exposed film in my gadget
bag. I usually carry along five or six
rolls of film. Boxes of un-exposed film
I mark “UX” with a pencil, indicating
same are un-exposed. After film is ex-
posed and returned to its container. I
erase the letter “U” leaving the “X”
to indicate the film is exposed and ready
for processing.

— David Cohen.

First Aid

For quick, temporary mending of
breaks in film during projection, use
small bits of adhesive tape. Cut a num-
ber of short strips, about I" in length
and the width of your film, and stick
them on side of projector where they
will be ready for use in case of emer-
gency. They’re easily removed later
without damaging film or emulsion.

— Stanley Jepson.

For Hot Lamps

When a photoflood “blows” in the
midst of filming a scene or title, it may
be removed at once by first placing over
it the corrugated container in which it
came, and then unscrewing it. For this
purpose I always save the paper lamp
containers and keep one or two handy
whenever shooting with photofloods.

— Edward Harris.

Developing Rack

Here is a simple, inexpensive easy-to-
make developing rack for those ama-
teurs who develop their own positive
film titles. It will hold 4 to 6 feet of
film and require very little developer.
Required are three plastic hair combs,
obtainable from the five and ten cent
store.

t rich 6 and
dliort cuts contributed

C^inebu^S

REWARD FOR IDEAS!

Ideas not published will be held for future
publication unless they duplicate ideas pre-
viously received. Endeavor also to send along
photos or rough sketches illustrating your sug-
gestions. There is no limit to number of
suggestions you may submit.

Important; When submitting ideas, be sure
to mention whether equipment you use is 8mm
or 16mm, enabling us to promptly forward
awards adaptable to your use.

Cut two of the combs into two equal
parts, dividing them at the center. Dip
the cut ends into acetone to soften them.
Then fuse these to center of uncut comb,
as shown in illustration, applying a few
drops of acetone frequently with a
brush to aid in fusing all members into
one solid piece. When fusing is com-
plete, break away some of the teeth at
center of assembly and cement an up-
right piece of plastic material to form
a handle. This may be another comb
from which all teeth have been removed
and filed smooth.

— J. A. Sdgen.

Title Fades

An easy method for producing fade-
ins and fade-outs in titles, where fading
devices are lacking, is to use a large
sheet of cardboard and move it slowly
in front of light source in order to di-

• Continued on Page J47

PAGE 528

HOME MOVIES FOR NOVEMBER

^ IN MOVIE ACCESSORIES
AT MONEY-SAVING PRICES

New and better devices that add to the pleasure of
amateur movies. Guaranteed to give lasting satisfaction.

THE FRANKLIN SUPER FILM SPLICER

None other like
it! Always
makes a perfect
spl ice. Cuts and
cements in one
operation. For
8 mm. or
16 mm. film,
sound or si-
lent. Makes
splicing easy;
saves time and
film. Chrome
finish. Mounted
on walnut finish
base. Complete

$6.95

THE NEW FRANKLIN REWIND

Tf'ith Clutch Crank

Geared 5 to 1, the
Franklin Rewind
gives smooth, fast
rewinding without
the annoyances oft-
en experienced with
moderately priced
units. Outstanding
value at

$2.25

Set of 2, $4.50

THE FRANKLIN SAFETY REEL

With Threading
Device

Ends slot-threading.
Makes it possible to
thread film outside of
reel. Durably made
and guaranteed. 8min
or 16mm available in
200 ami 100 foot sizes.

200 FEET 45 CENTS
400 FEET 65 CENTS
CANS

8mm — 200 FEET, 35c
16mm — 400 FEET, 50c

Franklin accessories provide the amateur movie maker
with practical aids for the better projection of his
pictures. Every Franklin product is reasonably priced
and guaranteed.

Ask Your Dealer to See These Items

Franklin Photographic Industries, Inc.

223 W. Erie St. Chicago, IN.

I A VALUE THAT HAS KEVER BEEN [QUtllED

MAKES 8!:; MOVIE TITLES!

A BARGAIN THAI WILL NEVER BE REPEATED

SPECIAL $1.69

In the face of rising prices, here’s a
chance to SAVE 1/3 on a high quality
TITLER! We bought them before ihe
price boost, and we can't duplicate the
bargain after these are gone. Think what
snappy, interesting titles will do tor your
filmsl They're EASY to make. Just write,
print or type on any card, insert in titler,
and "shoot." Be sure to state make of
camera (8mm only) Revere, Keystone,
B & H, Eastman or Univex. Titler has
built-in diapter lens, is fully guaranteed.
ORDER TODAY direct from this ad.
(Dime extra for postage.) If not satis-
fied, return titler tor refund!

Our prices on cameras, projectjrs, sup-
plies, accessories, bulk film, processing
service, etc. All inquiries answere d by

amateur

Continued from Page S17

movies

• •

Spokane and The Inland
Empire, 800 feet 16mm.
Kodachrome, by Burton
Belknap, Spokane, Wash.

The Old, Old Story, 400
feet 16mm. Kodachrome, by
Pat Rafferty, Long Beach,
Calif.

The Student Is a Presi-
dent, 200 feet 8mm. black
and white, by Menlo Jr.
High School, Menlo Park,
Calif.

Through the Windotv
Pane, 400 feet 16mm. Ko-
dachrome, by Mrs. Warner
Seely, Cleveland, Ohio.

Three Wishes, 125 feet
8mm. Kodachrome, by Earl
Cochran, Colorado Springs,
Colo.

Tropical Ecstasy, 350
feet 16mm. Kodachrome,
by Dr. Roy L. Gerstenkorn,
Los Angeles, Calif.

Utah Trail, 200 feet 8mm
with musical disc record-
ings, by Mr. and Mrs. Al.
Morton, Salt Lake City,
Utah.

Achievement Awards

For Photography — To
Herman Bartel, New Ro-
chelle, N. Y., for the fine
camera work in his 16mm.
Kodachrome picture. Sing-
ing Shadows.

For Editing — To Ray-
mond F o s h o 1 d t , Long
Beach, Calif., for the excel-
lent cutting and titling of
his 16mm. picture, Father’s
Time.

For Titling — To Earl
Cochran, Colorado Springs,
Colo., for outstanding tech-
nical skill in titling his
8mm. film. Three Wishes.

For Sound — To J. Glenn
Mitchell, Joplin, Mo., for
his amateur made synchro-
nized recording of music
and commentary submitted
in contest. Recording ac-
companied his film. Within
These Hills, winner of
Lloyd Bacon Trophy.

Club Achievement — To
Long Beach Cinema Club
whose progressive activi-
ties made them the most
outstanding^ amateur cine
club during 1941.

A forecast, destined to
come true, was written

when it was stated in the
July issue of Home Movies
that, “Within These Hills,
the IWovie of The Month, is
undoubtedly one of the
great amateur motion pic-
tures of the year.” This pic-
ture easily earned the cov-
eted Lloyd Bacon Trophy
sponsored by the famous
Warner Brothers Pictures’
director.

Running 800 feet in
16mm. Kodachrome, this
fine picture was produced
by J. Glenn Mitchell, of
Joplin, Missouri. Essential-
ly a documentary picture.

HEGAHDING

THE

TELEEAST

of prize-winning films in
HOME MOVIES’ 1941
Amateur Contest: as we
go to press we are in-
formed by the Don Lee
Broadcasting System that
their new facilities for
telecasting 16mm. films
will not be completed un-
til the latter part of No-
vember.

Telecast of winning
films over radio station
W6XAO will, therefore,
be postponed until some-
time during December.
Watch for further an-
nouncement in the De-
cember issue.

“Within These Hills” might
also be termed a propagan-
da picture— the kind of prop-
aganda we want to see in
motion pictures : that which
enlightens us to the confi-
dence and self-reliance of
most of the people of the
United States at a time
when all is turmoil in other
parts of the world.

A foreword tells us that,”
. . . the fears and uncertain-
ties of the future have fos-
tered discontent . . . have
tended toward national
hysteria and dissension. . .
It is then of considerable
importance to find within
the heart of our country, a
group of people who have
managed to keep their indi-
viduality and happiness.

and above all else — their
self-reliance and confidence
in the future.”

The scenes that follow
take us into the Ozarks of
Missouri, show us the
beautiful country and the
fine people who dwell there,
and then take us into their
homes, and along to church
or to market with them. A
more complete review of
this picture appeared in the
July issue, but something
should be said here of its
exceptionally fine photog-
raphy, its continuity, edit-
ing and titling. All point
to the fine skill of this ama-
teur in all departments of
picture making.

Accompanying this film
was an outstanding ama-
teur disc recording of back-
ground music and narra-
tion also produced entirely
by Mitchell and which won
for him the Achievement
Award in this contest for
sound. The narration, while
not a full running comment,
still is sufficient for this
picture and the musical se-
lections which background
the picture throughout are
highly appropriate. Over
the closing scene of the pic-
ture, shot of a waving
American flag is lap-dis-
solved and at this point the
recording crescendos into
the national anthem, then
fades in unison with the
End title.

Another Movie of The
Month clicked in the finals
when Raymond Fosholdt’s
“Father’s Time” reviewed
in the November 1940 issue
of this magazine, captured
1st Award in the Scenario
Class. Full of human in-
terest and humorous situa-
tions, “Father’s Time” con-
cerns a man who, at the
close of a working day,
buys his favorite magazine,
then encounters all sorts of
delays and interruptions in
his effort to read it. Ar-
riving home and settling in
his easy chair, he is about
to pick up the magazine
when a call from the kitch-
en summons him to open a
can of preserves. His
daughter interrupts for
money to buy a new coat,

HOME MOVIES FOR NOVEMBER

PAGE 529

and when he carries the
magazine to the dinner ta-
ble, his wife’s disapproving
glances cause him to post-
pone reading until later.

But a neighbor calls to
take his wife to the movies,
so he’s wheedled into wash-
ing the dinner dishes.
While doing so, he’s sum-
moned by daughter to help
with her evening gown, and
while thus engaged, the
magazine falls into the
dishwater. Returning to the
kitchen, the unperturbed
husband rescues his maga-
zine and proceeds to dry it
out in the gas oven.

There comes a call at the
door, which he must an-
swer. It proves to be his
daughter’s boy friend, and
the two stand and chat un-
til daughter makes her ap-
pearance. When she de-
parts with her companion,
the husband returns to the
kitchen and his dishwash-
ing chores. The odor of
smoke assails the husband’s
nostrils. Opening the oven,
he finds his cherished mag-
azine somewhat charred.
Resourceful, he smooths
out the remaining pages
with an electric iron and
then proceeds to his bed-
room.

Donning his pajamas, he
settles down in bed to read
the magazine. Overcome by
exhaustion he quickly falls
asleep. Closing gag shot
shows the family cat, asleep
at foot of the bed, suddenly
awake at the sound of the
husband’s snoring.

Highly commendable is
the photography of this
picture as well as Fosholdt’s
original story. For the ed-
iting of this fine film,
Fosholdt also receives the
Achievement Award for ed-
iting in this contest.

Excellent camera tech-
nique plus a fine original
story combined to make a
prize winning film out of
“A Pain In the Night” and
net the 2nd Award in the
Scenario Class for its
maker. Reverend Raymond
G. Heisel of Elmira, New
York. Also a Movie of
The Month (See May,
1941, Home Movies) “A
Pain In the Night” is a
delightful narrative pictur-
ing an incident that many
of us have experienced — a
sudden toothache in the
middle of the night. The
picture is cleverly opened

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PAGE 530

HOME MOVIES FOR NOVEMBER

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in true professional man-
ner with a closeup of an
alarm clock to establish the
time, then the camera pans
to a bed, one side occupied
by a sleeping woman ; the
other evidently recently va-
cated. The camera con-
tinues panning, picks up
the feet of the husband as
he trods back and forth on
the bedroom floor. The cam-
era moves upward to reveal
the husband, a handker-
chief tied about his jaws
and a glum and sorry look
on his countenance.

His unsympathetic wife
summons him back to bed,
but he cannot lie down.
Thus, in sitting position,
he falls asleep and dreams.
The dream sequence opens
with the husband attempt-
ing to pull the aching molar
by tieing string to tooth
and then to doorknob. His
mistake is in tieing string
to wrong side of door, for
when his wife inadvertent-
ly opens it, the knob strikes
him in the eye, and a
“shiner” results.

The wife sends him to
the dentist where the tooth
is extracted after rnany hu-
morous maneuverings on
the part of the dentist with
an assortment of garage
mechanic’s tools. Present-
ly the man awakens from
his dream to And the pain
has disappeared. Jubilant-
ly, he removes the ’kerchief
from his face and throws
it aside, but in doing so,
strikes in the face, his wife
sleeping by his side. She
awakens with a start, and
now she has an aching jaw,
ties the ’kerchief about her
head.

The Anal shot shows her
mumbling some unkind
words to her careless hus-
band as he looks on shame-
facedly ala-Dagwood Bum-
stead.

The picture is replete
with fine closeups which aid
materially in keeping the
picture moving at the right
pace. Editing and titling
were also well executed.

Back in the race again
this year, and with telling
results was Anchor 0. Jen-
sen of Seattle, Washington,
this time with a fine 8mm.
picture in color entitled
“Ten Pretty Girls” which
captured 3rd Award in the
Scenario Class. Marked by
some of the finest indoor
settings ever to be seen in

an amateur movie, this pic-
ture indicates, as did the
maker’s 1940 entry, that he
is a keen student of profes-
sional cinematography.

The story concerns a
youth, lounging in his den
and meditating on the girls
in his life. He has just
made a string of paper
dolls by folding the page of
a newspaper and tearing
away parts of it with his
fingers so that when the
paper is unfolded, there re-
main ten doll-like figures
joined together. These he
tears apart one by one, and
as he does so, he reflects
upon the girls he has
known. His reflections are
shown in dissolving scenes
which follow. And the
girls who take part in the
subsequent sequences easily
could be candidates for
Earl Carroll’s show; in-
deed, one reviewer of the
film termed them “fugitives
from a talent scout !”

Ten different girls in all
are depicted in an equal
number of sequences, and
the action is treated differ-
ently in each. The last, of
course, pictures the girl he
loves — the little red head
whom he has known since
childhood. The closing
scenes show him at the end
of his meditation, prepar-
ing to call on his sweet-
heart, and then the events
that follow: a dinner date,
a ride in the moonlight, and
the proposal.

Marked by a fine original
story, excellent photog-
raphy, and good editing and
titling, this film easily rates
one of tne most entertain-
ing amateur movies of the
year.

Barely failing to repeat
his performance of last
year was Herman Bartel,
winner of the Lloyd Bacon
Trophy for 1940, whose en-
try in this year’s contest,
“Singing Shadows,” places
first in the Documentary
films class. Highlight-
ed by some of the most
breath-taking color photog-
raphy that was made even
more appealing by extra-
ordinary camera manipula-
tion, this picture is easily
the finest example of mo-
tion picture photography
yet achieved by an ama-
teur. And because of this,
“Singing Shadows” also
captures the Achievement
Award for photography in

this year’s competition. Re-
cordings such as Debussy’s
“Claire deLune” furnished
inspiration for this film,
which attempts successful-
ly to interpret in motion
pictures the various moods
of the music. Quite natur-
ally the picture consists of
outdoor scenes well com-
posed and most artistically
photographed, then ar-
ranged in sequences in such
a manner as to fit the vari-
ous passages of the several
musical selections submit-
ted for playing during pro-
jection of the film.

w. W. Champion’s
“Home Town,” the Movie
of The Month for March,
was awarded 2nd place in
the Documentary Films
class. A full and interest-
ing account of this civic
documentary may be found
in the March (1941) issue.
Excellently photographed
and enhanced by fine titles,
this picture portrays the
activities of the engineer-
ing department of Fresno,
Calif. The picture was
more than a year in the
making, requiring as it did
the filming of certain epi-
sodes at each season of the
year.

Harry A. Downard, Jr.,
Redding, Calif., took the
3rd place award in the Doc-
umentary class with his fine
16mm. Kodachrome pic-
ture, “River Rhapsody,”
which traces the origin of
a river from the melting
snows, to its ultimate des-
tination, the sea. Replete
with fine camera work and
good editing, the film is
further enhanced by a well-
rounded selection of record-
ings for musical accom-
paniment.

In the Family Films
class, Mrs. Erma Nieder-
meyer, a 1940 contestant,
captured 1st award with
her fascinating 16mm. Ko-
dachrome film, “It Runs In
the Family,” which pictures
the activities of a family at
Christmas time. As the
Holiday approaches, the
family is reminded by ra-
dio announcements that
just so many days remain
until Christmas.

Each member of the fam-
ily gets to work on a hand-
made gift for another of
the family. Comes Christ-
mas morn and unwrap-
ping of the personally-made
gifts which prove disap-

1101

iig,

ill

HOME MOVIES FOR NOVEMBER

PAGE 531

pointing' to each recipient.
One girl receives a hat, not
to her liking; another a
flannel nightgown ; Grand-
pa gets a toy airplane ; Dad
a hand-knit sweater that
fits like an overcoat, etc.
Closing scenes show each
gift being relegated to the
wastebasket.

Commendable is the fine
photography, especially as
all scenes were made in-
doors. The continuity, of
course, is excellent.

Second place in the Fam-
ily Films class went to For-
rest B. Kellogg of Long
Beach, Calif., for his 8mm.
Kodachrome picture, “Va-
cation, 1940.” This is a
simple continuity shot “on
the cuff” during a vacation
trip and demonstrates what
an amateur can do when a
little imagination is
brought into play. This
continuity, reviewed at
greater length in the Aug-
ust issue, concerns a cou-
ple on a vacation trip. The
husband chooses to fish
while his wife hikes
through mountain trails
with their dog.

It is the professional way
that Kellogg brought his
wife and dog into each
scene as an excuse for film-
ing all scenic compositions
that highlights this fine
movie.

Third award in the Fam-
ily Films class was cap-
tured by another feminine
filmer, Violet Bergmann of
Mount Vernon, N. Y., with
her 16mm. Kodachrome
movie, “Christmas Greet-
ing.” A capable director
as well as filmer. Miss
Bergmann has produced a
Christmas movie that will
always prove an interest-
ing screen subject. Story
concerns a family prepar-
ing for Christmas — hang-
ing of wreaths and Christ-
mas decorations, wrapping
of gifts, etc. The husband
cuts down a fir tree in their
yard for the Yule tree.
Then on Christmas eve, the
two kiddies attempt to spy
on Santa. But he surprises
them — catches them in the
act and sends both scurry-
ing off to bed.

Closing scenes show the
family gathered about the
piano on Christmas night
and singing carols.

There was only one
award in the School-made
Films class and this went

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PAGE 532

HOME MOVIES FOR NOVEMBER

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Suite 600, 408 S. Spring St., Los Angeles, Calif.

to Bill A. Jones and Joseph
M. Streb of Dover, Ohio,
for their 16mm. black and
white picture, “Second
Date.” This picture was
reviewed in the education-
al films section of the Sep-
tember issue and concerns
two students — a youth and
a girl — who indulge in
drinking during a school
prom. Ordered off the floor
for their drunken conduct,
the two set out for a joy-
ride in the youth’s car
which ends in a crash and a
term in the hospital.

Later the two are placed
cn probation and when they
return to school a special
lecture, inspired by their
escapade, shows the error
of their ways and brings a
firm resolve never to in-
dulge in intoxicating li-
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Continuity is fine and
photography, editing and
titling are above average.

Those taking the Achieve-
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• Continued from Page 520

title is photographed over
a decorative or illustrated
background, the third col-
or, which would be a mix-
ture of the tint and the
toning shades, would be
lacking.

Before proceeding with a
description of the tinting
and toning processes, atten-
tion should be called to the
fact that positive films are
obtainable in a variety of
colors, i. e., the base of the
film is already tinted. Popu-
lar among colors available
are red, blue, lavender,
purple haze, amber, candle
flame and yellow. For the
amateur who shoots posi-
tive and reverses the film
himself, and for those who
want to make positive titles
for Kodachrome, these pre-
tinted positive stocks offer
a short-cut to the duo-color
process. With them, only
toning is necessary to ob-
tain the pleasant colorings
already described.

M any tinting and toning
chemicalsr- — prepared and
otherwise, are available to-
day which make it quite
easy for the average ama-
teur to obtain a variety of

Herman Bartel, New Ro-
chelle, N. Y., for his fine
photography in “Singing
Shadows;” Raymond Fosh-
oldt, for his excellent edit-
ing of “Father’s Time;”
Earl Cochran, Colorado
Springs, Colo., for the
splendid titles in his 8mm.
film, “Three Wishes J.
Glenn Mitchell, Joplin, Mo.,
for his disc recording of
narrative and musical
background for his Lloyd
Bacon Trophy winner,
“Within These Hills Har-
old Moats, Decatur, 111., for
Technical Achievement in
the designing and building
of an automatic wipe-off
and fading device for the
Keystone 8mm. camera,
which were described in the
April and May (1941) is-
sues of Home Movies; and
The Long Beach Cinema
Club for the most outstand-
ing Club Achievement.

Space does not permit a
fuller account of these
achievements nor of many

color combinations in his
black and white films. The
Craig Cine Tints, for ex-
ample, are available in six
different colors and are
ideal for tinting either pos-
itive or reversal films. The
Soloid Stains, marketed by
Burroughs - Welcome, are
another excellent line of
tinting mediums.

Toners suitable for movie
films are made by Marshall
and also Burroughs-Wel-
come, and are available in
tabloid form. These need
only to be dissolved in wa-
ter for use. Then there are
the Mansfield Single-solu-
tion toners which come pre-
pared— ready-mixed — in li-
quid form, and are to be
had in brown, green, ma-
genta and blue.

Those desiring a greater
selection of colofs, or per-
haps deeper or lighter
shades of certain colors,
may mix their own solu-
tions from chemicals read-
ily obtainable from photo-
graphic stores or chemical
supply houses.

The two principle meth-
ods of toning motion pic-
ture film are: (1) by re-
placing the silver image
with inorganic salts (iron

of the prize-winning films.
But an attempt will be
made to bring further de-
scription of them to our
readers in future issues.

One highlight of this con-
test is the fact that four
Reel Fellows won six of the
major awards — Raymond
Fosholdt, Rev. Raymond J.
Heisel, Erma Niedermeyer,
and Bill Jones. Other Reel
Fellows were represented
in the Honorable Mention
division.

So with another highly
successful contest conclud-
ed, we take leave at this
point and extend heartiest
thanks to the many hun-
dreds of amateurs who par-
ticipated. If your film en-
try did not place, remem-
ber it may be due only to
the fact another, just a
“notch” better, managed to
nose out your picture in the
finals. So keep up your
filming and plan to enter
again next year.

• •

tones), and (2) toning
with dyes and the use of a
mordant bath. Of the va-
rious metal salts, uranium
ferrocyanide (reddish-
brown), iron ferrocyanide
(blue), and silver sulphide
(sepia), are the most suit-
able for movie films. These
toners have a tendency to
intensify the image, so are
chiefly applicable for use
with scenes that are a trifle
“thin” or over-exposed.
Thus, many over-exposed
scenes, which every ama-
teur has in his collection of
deleted footage, may be
given a new lease on life
by toning them in any of
the iron toners. As they
take on the toning color
they will automatically be-
come intensified, bringing
out the photographic quali-
ties anticipated in the orig-
inal exposure.

The equipment necessary
for tinting or toning opera-
tions depends upon the
amount of footage to be
subjected to these processes
and whether or not each
scene is to receive a differ-
ent coloring. Where an
entire roll of film — 50 or
100 feet — is to be tinted,
then toned, making for an

^^uo-coic

uo~colop proceAA

for films

HOME MOVIES FOR NOVEMBER

PAGE 533

over-all color transforma-
tion, the usual round drum
or developing rack, such as
used for home reversal pro-
cessing should be used. In
fact only by use of such
equipment can the tinting
or toning process be car-
ried on uniformly over
great lengths of film.

On the other hand, where
each scene is to receive dif-
ferent treatment, that is,
different tinting and toning
colors, this may be handled
with an ordinary develop-
ing tray for the dye solu-
tions, and the film im-
mersed in the solutions by
hand, much the same as
one would develop a short
length of title film.

There are some precau-
tions which must be fol-
lowed in tinting or toning
movie films. First of all
the film should be thor-
oughly cleaned of all oily
substance, then washed in
running water to remove
any trace of hypo. If any
hypo is left on the film, it
will tend to cause streak-
ing, prevent the dye from
working evenly. Washing
the film in running water
also softens the emulsion
and prepares it to receive
the toner.

It is important that no
metallic surface, no matter
how small, comes in contact
with the tint or toning so-
lutions. If an enameled
tray is used, make sure
there are no cracks or chip-
ped spots. If such defects
should exist, coat them
with waterproof enamel or
paraffine before using the
tray. Glass refrigerator
trays or dishes are ideal for
use in hand toning short
lengths of film. Since toned
image is soluble in alkali,
washing should not be pro-
longed where the water is
known to be alkaline in
content.

Those who have admired
the platinum-sepia tones of
some theatrical films will
be interested in the brown
and sepia tones possible
with the use of the Ura-
nium toner. This toner
tends to intensify the film
the longer it is immersed
in it. Over-exposed outdoor
scenes, panoramas, desert
scenes, etc., are extremely
beautiful when subjected
to the Uranium toner. Max-
imum toning effect is pro-
duced in about 10 minutes,
the color proceeding from a

chocolate brown (2 to 3
minutes) to a coppery red
at the end of a ten-minute j
interval. Many interme- '
diate tones can be had by j
toning for shorter inter- '
vals. The Uranium formu- |
la follows;

Uranium (Uranyl)

Nitrate 35 grains

Potassium Oxalate 35 grains

Potassium

Ferricyanide 15 grains

Ammonium Alum 85 grains

Hydrochloric Acid,

10% solution 1% drams

Water to make 32 ounces

After toning, wash film

in clear running water for
at least ten minutes.

An interesting combina-
tion of colors is obtained by
first toning the film in the
Uranium bath for about 3
minutes, then in the Iron
toner for about two min-
utes. Immerse the film in
the latter from 2 to 10 min-
utes at 70°F. until the de-
sired tone of blue is ob-
tained. Color of image will
graduate from a light blu-
ish-grey (2 to 3 minutes)
to a deep blue in 10 min-
utes. Wash film 10 to 15
minutes until highlights are
clear. Formula for the Iron
blue toner follows;

Ammonium Persulfate 7 grains
Ferric Alum (Ferric

Ammonium Sulfate) 20 grains

Oxalic Acid 45 grains

Potassium

Ferricyanide 15 grains

Ammonium Alum 73 grains

Hydrochloric Acid,

10% solution 14 dram

Water to make 32 ounces

Both the Uranium and
Iron Toners are single so-
lution processes and very
simple for the amateur to
use. Great care must be
exercised in mixing either
of these toners. Each of
the chemicals should be dis-
solved separately in a small
quantity of warm water
and added to the solution
in strictly the order given.
When properly mixed the
solutions should be a pale
yellow color and perfectly
clear. Both of these toners
are sensitive to light and
should be stored in dark
brown bottles when not in
use.

Owing to the limited se-
lection of colors available
with the Iron toners, other j
methods of toning have i
been evolved — principally i
the use of a basic dye solu-
tion with a mordanting
bath. Certain inorganic

The New
“Super D”
Graflex

^ I 'HE Series D Graflex was — and is — a famous, vastly useful camera, be-
loved of thousands of serious photographers. Now comes the Super D
Graflex, in which all the standard features are retained but to which have been
added important improvements.

The built-in open-flash synchronization, for example, gives the photographer
opportunity to use his Super D Graflex with any of the current flash bulbs or
with the high-speed Kodatron lamps.

The Super D Graflex (3J4 x 4f4) is regularly supplied with a 6J^-inch Kodak
Anastigmat //4.5 lens in standard barrel mount. Ask your dealer for all the
news about this camera. There’s plenty of it, all good.

Graflex and Graphic Cameras are made by the Folmer Graflex Corporation

EASTMAN KODAK COMPANY, ROCHESTER, N.Y.

• ‘N ■

raph

lOWA

NEW MODELS 4 AND 5

CORROSION

PROOF!

ARCTIC PROOF!

TROPIC PROOF!

No speed variation at any temperature
10° below zero to 120’ above

SEE THESE CAMERAS AT TOUR DEALERS

PAGE 534

HOME MOVIES FOR NOVEMBER

Looking for a way to be sure of top-quality movies
without paying a price penalty? Here’s your answer
At ESSCO’s low prices you can afford to take more
movies and better movies. You pocket a genuine saving
and enjoy greater film satisfaction at the same time’

ESSC0'12

a good, wide
non-halo, ortho
sharp, brilliant
Weston 12.

latitude,
film for
results.

ESSCO No. 8 Weston 8 semi-ortho 2*^^ |

ESSCO No. 24. extra fast, Weston - «n « cn

24-16 panchromatic, fine grain. . . 4’'^^ 2'^^

ESSCO No. 100. Pan. non-halo.

Weston 100 Tungsten. Not for use .j oc

In bright daylight 4*^^ 2

PROCESSING and return postage included. Each
roll on daylight loading spool in metal box and strong
carton, ready for use in all standard cameras. 24 hour
procession. ORDER DIRECT FROM THIS AD. Stock up
NOW before prices rise. $1 deposit on all C.O.D.
orders.

WRITE FOR DESCRIPTIVE CIRCULAR AND
BARGAIN LIST OF FILM SUBJECTS

.50

1 .75

^itm PnoJUivcti

6117 S. Campbell Av.HQQ Chicago

Get Ready for

Christmas Shots

THIS is the time to buy your
VICTOR Lighting Units for In-
door filming of Holiday events.
You'll find that VICTOR Lights will
give you the illumination you need
for black-and-white or color shots.
Visit your dealer and see the wide
variety of stand, clamp and table
models now available — or write for
FREE folder.

JAS. H. SMITH & SONS CORF.

1110 Lake Street Griffith, Indiana

Victor"^ss^

)

compounds have been found
to have the peculiar prop-
erty that when immersed
in a solution of a basic dye
the dye comes out of the so-
lution and attaches itself to
the compound. The dye is
then said to be mordanted
and the inorganic com-
pound is called a mordant.
Silver ferrocyanide is a
typical mordant. Therefore
if the silver image on the
film is converted into a sil-
ver ferrocyanide image (by
immersing in the mordant-
ing bath) and then toned
in the basic dye solution,
the colored dye is embed-
ded in the image and the
highlights or film base it-
self is not affected by the
color.

MORDANT BATH

Uranium (Uranyl)

Nitrate 116 grains

Oxalic Acid 58 grains

Potassium

Ferricyanide 58 grains

Water to make 32 ounces

Dissolve each chemical
separately in a small vol-
ume of water and add
strictly in the order given.
After mixing, the solution
should be light yellow and
perfectly clear. For use,
take 1 part of stock solu-
tion and 4 parts water.

Time of mordanting : Im-
merse the film until a slight
chocolate colored tone is
obtained. With a new bath
this will require from IV2
to 2 minutes but as the
bath ages, this time will be
prolonged. A little of the
stock solution will revive
the bath. Temperature of
the solution should be at
65° to 70°F.

Time of Washing after
Mordanting: Wash until

the highlights are free
from yellow stain, which
usually takes from 10 to 15
minutes. Do not wash long-
er than 20 minutes or some
of the mordant will be
washed out and inferior
dye tones will result.

DYE TONER BATH

Dye 3 grains

Acetic Acid, 10% l^i drams

Water to make 32 ounces

Thoroughly dissolve the
dye in hot water, filter, add
the acetic acid and dilute
with cold water to make the
required amount.

Time of Dye Toning:
Immerse the mordanted
and washed film in the dye
bath for from 2 to 15 min-

utes according to the color
desired.

Time of Washing after
Dyeing: Until the high-
lights are clear, from five
to ten minutes.

The following dyes are
suitable for toning motion
picture films:

Safranine A Red

Chrysoidine 3R Orange

Auramine Yellow

Victoria Green Green

Methylene Blue BB Blue

*Methyl Violet Violet

*With Methyl Violet use one-
fourth the quantity of dye
given in the above formula.

Intermediate dye tones
may be obtained by im-
mersing the film in succes-
sive dye baths or by mixing
the dye solutions.

By omitting the ammo-
nium alum from the Iron
Blue Toning formula it is
possible to secure Double
Tones. This bath tones the
halftones white (or clear)
and the shadows blue. If
the resulting image is im-
mersed in any of the dye
toners, the dye is mordant-
ed to the halftones while
the shadows remain more
or less blue. Two color
toned images are possible
with this bath. A sunset
scene which has been tinted
yellow is placed in the Dou-

ble Tone solution until the
shadows are a deep blue.
After washing for 10 to 15
minutes the halftones and
highlights are clear. The
film is then immersed in a
red dye toner until the half-
tones are red. After a final
washing of from 5 to 10
minutes the highlights are
clear and we have a three-
color combination — high-
lights are yellow, halftones
are red and the shadows
are blue.

The choice of colors for
a given scene or sequence
must, of course, be left to
the individual filmer. How-
ever, certain colors have
become recognized, through
long practice, as suitable
for certain subjects. Sepia
is particularly suitable for
portrait-closeups, also for
landscapes. Snow scenes
are unusually attractive
when toned a blue-grey. A
seascape of a sailboat scud-
ding along with wind-filled
white sails appears almost
real when toned blue or ma-
rine green. Indeed, your
finest black and white films,
no matter how beautiful,
will take on new life and
greater naturalness when
subjected to this duo-color-
ing process.

Movie of the Month

• Each month the editors of
HOME MOVIES select the best
picture sent in for analysis and
designate it "The Movie of the
Month." This movie is given a
detailed review and a special
leader is awarded the maker.

Thts award does not affect the
eligibility of such films for entry in
the annual HOME MOVIES CON-
TEST. They are automatically en-
tered for rejudging with those
films submitted especially for the
annual contest. Films awarded the
honor of MOVIE OF THE MONTH
during the past 12 months are:

1940

NOVEMBER: "Father’s Time,"
produced by Raymond Fosholdt,
Long Beach, Calif. A 16mm pic-
ture, 400 feet in I ength.

DECEMBER: "Spokane and The
Inland Empire,” produced by Bur-
ton Belknap, Spokane, Washington.
A 16mm Kodachrome picture, ap-
proximately 800 feet in length.

1941

JANUARY "Three-Wishes" pro-
duced by Earl Cochran, Colorado
Springs, Colorado. An 8mm Koda-
chrome picture, 125 feet in length.

FEBRUARY: "Happy Landing,’
produced by Mildred Caldwell,
Long Beach, Calif. An 8mm Koda-
chrome picture, approximately 400
feet in length.

MARCH: "Home Town," pro-
duced by West W. Champion,
Fresno, Calif. A 16mm picture,
1600 feet in length.

APRIL: "Fledglings," produced
by Dudley Porter, Beverly Hills,
Calif. An 8mm Kodachrome pic-
ture, ISO feet in length.

MAY: "A Pain in the Night,"
produced by Rev. Raymond G.
Heisel, Elmira, N. Y. An 8mm
Kodachrome picture, 125 feet in
length.

JUNE: "Tropical Ecstasy," pro-
duced by Dr. Roy L. Gerstenkorn,
Beverly Hills, Calif. A 16mm Ko-
dachrome production, 350 feet in
length.

JULY: "Within These Hills,"
produced by J. Glenn Mitchel,
Joplin, Missouri. A 16mm Koda-
chrome picture, 800 feet in length,
with sound on disc recording.

AUGUST: "Dedication," pro-

duced by Alex W. Morgan, To-
ledo, Chio. An 8mm. Koda-
chrome picture, 400 feet in
length.

SEPTEMBER: "Through the Win-
dow Pane," produced by Mrs.
Warner Seely, Cleveland, Chio.
A 16mm. Kodachrome picture 400
feet in length.

CCTCBER: "Cock and Bull

Stories," produced by J. C. Mc-
Cracken, Glendale, Calif. An 8mm.
Kodachrome picture, 300 feet in
Length.

I HOME MOVIES FOR NOVEMBER

PAGE 535

TURN-AROUND AND
FLIP-FLOP STOP

ADJUSTABLE
EXTENSION ARMS

CHROMIUM
STEEL RODS

LOCKING ZOOM STOP

LOCKING SCREW

TITLETTER SET

The Hollywood Ti+le+ter Set consists of 120 characters, two 4x5" permanent back-
grounds, one black and one blue; two color landscapes, six assorted novelty back-
grounds, a clear sheet of celluloid for superimposed titles, bottle of special adhesive
and tweezers.

Titlefter Set in White or Red 5^95

TITLSER COLOR KIT For Photographing Kodachrome Titles

Consists of Iwenty-five beautifully colored landscapes, marine, snow and flower scenes — all
reproduct ons of famous paintings. Twenty-five novelty backgrounds, sheet of clear celluloid
for superimposed titles and a sheet of colored translucent material for silhouetie Koda-
chrome titles. Here at last is an assortment of accessories ideal r

for filming color titles yZil3

Direct, or from your camera dealer

HOLLYWOOD CINE PRODUCTS

3221 SOUTH FIGUEROA STREET LOS ANGELES, CALIF.

C^eiiuioid LacL^roundd . • .

Continued from Page 521

j is usable. The film must be
j developed by inspection.
I Since process film is not
I sensitive to the reds or yel-
lows, either of these colors
may be used in the safe-
, light. The yellows are pre-
ferred since they permit
closer inspection of the im-
age when it begins to ap-
pear. The Wratten OA is
ideal for this purpose.

Many workers pre-soak
• the negative in water, as
, J this tends to eliminate
V chances of streaks in the
5 short developing time. But
whether or not this is done,

: the negative is developed
i until the first signs of the
^ image begin to appear. At
]■( this instant the film is
quickly rinsed and placed in
H the hypo.

After the film has
cleared, scarcely any image
I* is visible, but this is exact-
|,i ly as it should be. When
I dry, place the film on a
lij sheet of plain white paper.

I I If the negative background

III has been exposed and de-
j veloped correctly, the nega-
if tive image will now become

apparent. It should appear
I something like the negative
i I in Fig. 1. For this illustra-
;l| tion an ordinary piece of
ii,f pine board was photo-
graphed in sunlight and de-
i veloped as described above.

I' The “background” nega-
tive is next placed over the
ji'i' title composed of black let-
I'. tering on white paper, and
t will look much as the image
j does in Fig. 2. When pho-
1 1 tographed on direct positive
|!; film and developed to a neg-
ative only, the result will
l' appear much as in Fig. 3.

I Successful results depend
P chiefly upon the correct
I ‘ density of the transparency
j background and its close
I contact with the title when
* the title is exposed. In or-
der that close contact may
be realized, it is advisable
I to place a piece of plate
glass over the background
' and the title. The titler pic-
tured on page 000 shows
how one amateur designed
such an outfit. Two holes,
drilled in the glass, permit
its removal at will, yet hold
it firmly while the title is
being photographed.

Caution must be exer-
cised in developing the final
negative to the correct den-
sity. Let it be stressed
again that as soon as the
image begins to appear and
is clearly, but barely, vis-
ible, development must be
stopped at once. A few
trials will shew the worker
exactly when development
must stop.

Any background can be
made into a celluloid nega-
tive. An actual scene itself
can be photographed as well
as pictures, composite set-
ups, etc. Any of them, once
made, can be used indefi-
nitely without injury to
either background or title.

There are many fascinat-
ing tricks and effects that
can be accomplished when
making titles by the forego-
ing method, not the least of
which is animation. Letters
or words can be made to ap-
pear one by one. This is
easily accomplished by plac ■
ing an opaque of white pa-
per betiveen the title and

PEDESTAL BE/.RING

he means to produce professional titles for those
splendid mooing pictures you took

ANY 8 OR I6MM
MOVIE CAMERA

FRAME OF TITLE
BOARD OR EASEL

PIVOT BEARING

SPECIAL REFLECTOR

TARGET SIGHT AND HOLDER
FOR SUPPLEMENTARY LENSES

ALIGNING PLATE

SELF-LOCKING
CAMERA PLATFORM
ADJUSTMENT

12 FT. EXTENSION CORD CAMERA PLATFORM
ADJUSTMENT — — ’

SLOTS FOR

VERTICAL MOUNTING

ADJUSTABLE FEET

RUBBER FEET

CAMERA PLATFORM
LOCKING SCREW

Precision Zitler

this past Summer! . . .

The unerring product of optical
bench workmanship, the Brown
"professional" Title Maker rep-
resents the ultimate in titling
performance. Without any other
previous experiences,
you can, almost at once,
rival the effects of titl-
ing as seen on the silver
screen. Clearly, it is to
your advantage to in-
quire into the pos-
sibilities of the
Brown Title Maker
— immediately!

The "Master" Title letter Kit

O Fitting Companion to the
Brown Title Maker

$12.50 Complete — 222 characters,
including capitals, small letters, num-
erals, punctuation marks, 30 periods
and commas. Included is an exclusive,
composing Templet for 9" x 12" title
areas . . . greatest assistance for pro-
per spacing and centering letters and
lines. Ys" white metal letters with
plain backs. (Pin-back letters, $15.00).
Consult your local dealer, or order directI

AMERICAN BOLEX CO., Inc. . 155 East 44th St., New York, N. V.

JT'es/ Coast Representative : Frank A. Emmet Co., 2707 IT', Pico Street, Los Angeles, Calif,

$29.50 Complete^Nothing Else to Buyl

(Including excise tax)

MAKES ZOOMS! FLIP-FLOPS!
TURN-AROUNDS! ANIMATIONS!
SHADOWS! REAR PROJECTIONS!

PAGE 536

HOME MOVIES FOR NOVEMBER

MAGNETIC MOVIE

TIUER OF 1001 USES

NO ADHESIVES m NO PINS

Quixet Letters are made of plastic and
are equipped with powerful "Alnico" mag-
nets that are guaranteed to retain their
magnetic properties for ten years.

WORKS LIKE MAGIC

REGULAR s/s" SETS

91 White Letters, 10 x 14 Black Panel....- $11.00

91 Red Letters, 9 x 12 Blue/Green Panel.... 13.50

DE LUXE Vs" SETS

150 White Letters and Numerals, Black

Panel $18.00

150 Red Letters and Numerals, Blue/

Green Panel 22.50

Also available in 1" and M/j" size letters

Your Dealer^ or Order Direct from

HAMILTON DWIGHT COMPANY

155 E. 44th Street New York City

Tried, tested and approved by
thousands of movie makers!

*16“

(Custom-
Designed Case,

$1.50)

DeJUR Instantaneous Reading
'Critic' model 40C Exposure Meter

Featuring the Special Locking De-
vice that Prevents the Scale from
Slipping after you have set it for the
Correct Exposure I

With the "Camera Angle of Acceptance."
Sensitivity from 1 to 4000 foot candles.
Film speeds from .3 to 800 Weston. Shut-
ter speeds from 6 to 128 frames.

At your dealer's, or write for defails.

*Price subject to change without notice.

Shelton Connecticut

New York Office Flatiron Building

the celluloid background.
As the camera starts run-
ning, the white paper is
slowly removed and drawn
out from between title and
background, revealing the
wording of the title. Best
results will be obtained
when the white paper mask
is made of the same kind of
paper as that upon which
the title is lettered. Other-
wise the difference in paper
surfaces, colors, or textures
may show on the screen.
Also, the paper should be
thin so that its edge will
not cast a shadow.

Animated map inserts
are likewise simple to make
with celluloid negative
backgrounds. A map of the
territory is first drawn with
white ink on black paper.
On a sheet of white paper
the route is drawn. All
sizes and proportions must
be identical — so exact, in
fact, that if one were placed
upon the other they would
fit perfectly. With a still
camera the territory (white
boundary lines on black pa-
per) is photographed on
process film. Without mov-
ing the camera, photograph
the route of the trip (black
on white paper) on ordi-
nary film (one of the con-
trast varieties is best), de-
velop in the usual manner,
and make a contrasty print
on the usual glossy paper.
If made correctly, the cellu-
loid negative background
of the territory will fit per-
fectly over the glossy print
containing the route, and
the result is a map showing
the desired itinerary.

The two are placed under
the plate glass in the title
stand with a piece of plain
white paper between nega-
tive and print. This reveals
only the territory. After
the camera has recorded a
few frames, the white pa-
per mask can be removed
slowly, revealing the route
bit by bit as it actually was
traveled. Sometimes two or
three sheets of white paper
will be found necessary to
keep unwanted parts of the
trip covered up until time
for them to be revealed.

Various other types of
animation are possible,
such, for instance, as mak-
ing a certain word or group
of words flicker. The de-
sired word is covered up
with the white paper mask
and two frames are ex-

posed. The mask is re-
moved and two more
frames are exposed. Again
it is covered for two more
frames, uncovered again,
and so on. The result on
the screen is a very no-
ticeable flickering, useful to
call attention to that word.

Words can be made to
turn around or walk into or
out of the field, by having
two identical titles. If the
title is printed, have the
the printer make two im-
pressions. If lettered, two
of them exactly identical
will be needed. Proceed to
set up the title in the ordi-
nary manner, focused and
centered, with the white
paper mask in between title
and background. For ani-
mation such as this the title
must be firmly fastened to
the title easel and the back-
ground should be taped to
the underside of the plate
glass. This allows removal
of the plate glass without
disturbing in the least the
location of either the back-
ground or title.

The words are cut from
the second title. Also sev-
eral white masks are cut,
several inches long, if nec-
essary, but no wider than
each individual word. The
words thus cut out are past-
ed at the top of the white
paper masks. Single expo-

in excess of 32 frames per
second and then screen
them at normal 16 frames-
per-second, results in slow
motion movies.

Opposite to this is the
fast action obtained by
filming pictures at 8 frames-
per-second. At this speed
the film passes through the
camera at exactly one-half
normal speed, and when
projected at normal 16
frames - per - second, pro-
duces fast, jerky and some-
times comical action on the
screen.

The most important
thing to remember, before
adjusting the camera to
shoot at slow or above nor-
mal speeds, is to compen-
sate for the change in ex-
posure. If light conditions
indicate an exposure of f/8
for normal filming, it will
be necessary to increase ex-

sure is employed, and be-
tween each exposure or pair
of exposures, the white
mask with the word pasted
at the top is pushed little
by little from the bottom
(or top or side) to its place
in the title. When the word
reaches its location in the
title, t he corresponding
word is uncovered and the
white mask holding the
word pasted to its end is
withdrawn and no longer
used. In this manner each
word of a title can come in
from the sides or bottom
and end up in a neatly
spaced and aligned title.

There may be some ama-
teurs who have accom-
plished similar results with
less work. That is possible,
of course. But the making
of the celluloid title back-
grounds, as described here,
is a fascinating branch of
the movie maker’s hobby.
When long winter evenings
set in, shortening the mo-
vie amateur’s activities,
then will be found time to
catch up with oft-neglected
title making. It is then
that experimentation into
new avenues of cine trick-
ery affords the most pleas-
ure to the movie bug, and
making a supply of cellu-
loid backgrounds should be
counted in on this winter’s
indoor filming program.

posure to permit more light
to reach the film in the
shorter interval shutter
will remain open when
shooting at 24, 32, 48, or
64 frames-per-second. And
where it is desired to film
at the slower speed of 8
frames-per-second, consid-
eration must be given the
fact that each frame of film
will pause before the film
aperture just twice as long
as when traveling through
the camera at 16 frames-
per-second, and therefore
exposure must be halved.

Where much fast or slow
motion filming is to be
done, it will be worth the
filmer’s effort to memorize
or make note of such data
as will make it possible to
determine proper exposure
without resorting to alge-
bra or a slide rule. The ta-
bles that follow will aid the

e camera

Continued from Page S22

eedd •

HOME MOVIES FOR NOVEMBER

PAGE 537

amateur quickly to arrive
at proper exposures for
fast or slow motion filming.

OPENING OF LENS

Increases

Light

1 full stop 100%

2 full stops 200%

3 full stops 400%

4 full stops 800%

5 full stops 1600%

For example, by opening
up lens diaphragm from
f/8 to f/5.6, volume of
light reaching film through
the lens is doubled —
increased 100%.

Table below shows vol-

ume of light for each stop
of an f/1.4 lens. Each f
number represents a full
stop:

Stop

No.

Light

Volume

f/1.4

1,000%

or % the light volume
of previous stop.

f/2

500%

or % the light volume
of previous stop.

f/2.8

250%

or % the light volume
of previous stop.

f/4

125%

or % the light volume
of previous stop.

f/5.6

62.5%

or % the light volume
of previous stop.

f/8

31.25%

or % the light volume
of previous stop.

f/11

15.62%

or % the light volume
of previous stop.

Once this data is fully
visualized, the movie ama-
teur often can save preci-
ous seconds of time needed
to get going and make the
shot. The necessity of tak-
ing repeated readings with
his exposure meter can be
eliminated.

Let us suppose we are
out filming with our cam-
era, shooting at the normal
speed of 16 frames-per-sec-
ond. Film and light condi-
tions call for an exposure
of f/8. The subject is a
football game with plenty
of action.

Suddenly we anticipate a
play we wish to film in slow
motion. This calls for set-
ting the camera to shoot at
64 frames-per-second — 4
times normal camera speed.
Since the film will be trav-
eling 4 times faster through
the camera, each frame will
pause before the film gate

only one-fourth as long as
at 16 f. p. s. — reducing ex-
posure time to one-fourth.
What stop must we use?
Well, if exposure is reduced
to one-fourth, by increasing
camera speed, then it will
be necessary to increase
amount of light reaching
film 4 times to make ex-
posure normal; and this is
done by opening up the lens
— hut not by 4 stops!

Look again at the last
table above. It will be
noted that light volume at
stop f/8 — the normal ex-
posure as determined above
— is 31.25%. Four times
this light volume would be
125%. Reference to the
table shows that by open-
ing up lens to f.4 light in
the volume of 125% is ob-
tained. Thus, by opening
up lens tivo stops, four
times more light is ad-
mitted.

Some of the uses, in ad-
dition to those mentioned
earlier, for which slow mo-
tion-— ultra camera speeds
— may be employed, are the
filming of surf, waving
fields of grain, and flower
studies where such must be
filmed on a windy day. Slow
motion lends a particular
intriguing effect to grain,
trees, or flowers moving in
a strong breeze.

All are familiar with
home movies filmed from a
moving automobile in
which it appeared as if an
earthquake had been in
progress ! Had those pic-
tures been filmed at 32
frames-per-second instead
of sixteen, the jolting move-
ment, occasioned by move-
ment of the car, would be
smoothed out on the screen.

Another use of the 32
f . p. s. speed is in shooting
dream sequences in scena-

• Continued from Page JI8

is the No. 1 item of editing
equipment, and it should be
capable of making a good,
firm splice with the mini-
mum of effort on part of
the user. Next in import-
ance is good splicing ce-
ment. All cement when
new and fresh will make
firm splices. But as some
cements age, they deteri-
orate in quality. Frequent
re-plenishing of the cement

rized movies. The slower
movement produced accents
the sequence and makes it
stand apart from the rest
of the picture.

Perhaps the best use for
24 f. p. s. speed, aside from
its requirement for pictures
that are to be projected at
sound speed, is in the pho-
tographing of such events
as parades and many sports
events, particularly when
much of the action will pass
from left to right or vice
versa immediately in front
of the camera. Filming
such events at 16 frames
would produce blurred pic-
tures. Shooting at the high-
er speed gives a shorter
exposure interval, thus re-
ducing the “blurring” ef-
fect.

Fast motion — filmed at
8 frames-per-second — is
chiefly used for comedy ef-
fects in motion pictures.
This speed is also em-
ployed, as stated earlier,
for filming under adverse
light conditions where
speed of lens and films are
not adequate to get the pic-
ture under prevailing light
conditions. Many excellent
night pictures have been
filmed in Kodachrome by
shooting at 8 frames-per-
second instead of sixteen.
When filming at this speed,
action in scenes must be
limited if not eliminated
entirely, as it will appear
jerky and above normal on
the screen.

The average amateur,
with a thorough knowledge
of the results to be gained
with fast or slow motion
cine photography, will find
many uses for this feature
of his camera. Those who
have not yet attempted
filming at above or below
normal speeds, have inter-
esting experiences in store.

supply is cheap splice in-
surance.

Recently, many excellent
viewing devices have been
placed on the market to
make this phase of the mo-
vie hobby not only easier
for the amateur but in-
tensely more interesting.
The most ideal of these are
the “motion” viewers which
reveal the scene in actual
motion as seen on the

WJ.

e em Acreena

LL . . I

The IDEAL CHRISTMAS GIFT

The HEWITT Movie Titler containing 246
precision molded characters, including
upper and lower case, and punctuation
marks. Stick-on backs permit instant
application on any surface . . . easily
colored for use with Kodachrome.
Complete instructions with each kit.

Price $7.50

At your favorite photo dealer, or write to

Quality Bulk Movie Film

8mm • 9V2mm • 16mm • 35mm

SUPER PANCHRO REVERSAL— Scored
Speed 24-18 — Anti-Halo Backing.

100 ft. 32 ft.
Double 8 . . . $3.60 $1.30

Single 8 . . . 2.00 .80

16 mm 3.25

MICROGRAN PANCHRO REVERSAL— Scored
Speed 12-8 — Anti-Halo Backing, Extra Fine Grain
100 ft. 32 ft.
Double 8 . . . $3.30 $1.20

Single 8 . . . 1.85 .70

16 mm. . . . 3.15

SUPER CINEPAN PLUS REVERSAL— Not Scored
Speed 64-40 — Non-Halation Base

100 ft. 33 ft.
Double 8 . . . $3.85 $1.45

Single 8 . . . 2.15 .80

16 mm 3.50

SUPER CINEPAN REVERSAL— Not Scored
Speed 24-16 — Non-Halation Base

100 ft. 33 ft.
Double 8 . . . $3.35 $1.25

Single 8 . . . 1.90 .70

16 mm 3.25

CINECHROME SEMI-ORTHO REVERSAL
Speed 8-2 — Non-Halation Base — Not Scored.

100 ft. 33 ft.
Double 8 . . . $1.75 $ .75

Single 8 . . . 1.15 .50

16 mm 1.45

CINE-KODAK POSITIVE TITLE F I L M -NotScored
100 ft. 33 ft.
Double 8 . . . $1.35 I .61

Single 8 . . . .90 .40

16 mm 1.01

Clear, Purplehaze, Yella^v, Red. Amber.Special Blue.

Also DuPont LaTender, Pink, Light Amber.
Complete New Reversal and Title Instructions Free
with Film Orders. Separately, 25 cent! each. Cash,
check or money order for quick service. Deposit
$1.00 returned with C.O.D. orders. Special Deliv-
ery, 15c; air mall $1.00 extra. Overpayments re-
funded or credited. No stamps, please.

CAMERA SPOOLS WITH CANS— Bach

Double 8 $ .35 keystone St. 8 . . $ .35

Unlvex 20 16 mm., 50 ft. . . .61

Eastman Double 8 . .40 16 mm.. 100 ft. . . .60

EXTRA CANS. Double 8 and Straight 8 size .05

100 ft. and 50 ft. 16 mm. size 10

Non-Humidor, 400 ft. 15c each; 10 for . 1.00

MISCELLANEOUS

BAIA Precision All-Metal 8 mm. Slitter . . $2.50
FOTOFADE DYE for making Chemical Fades 1.60
FOTO-FADE WIPE-OFF TAPE, per roU . .60

CINETINTS, 6 Colors and Instructions . . . 3.00

DuPONT VISCOSE SPONGES, each 35

HOME MOVIES, Back Issues. 1930-87-38 . .15

Not all months In any year, 1940-41, each . .30

TITLE DEVELOPER, tubes, each make 10 oa. .15

Write for Complete NEW Price Lists

W. STUART BUSSEY FILM LAB.

17 E. St. Joseph St. Indianapolis, lad.

PAGE 538

HOME MOVIES FOR NOVEMBER

The Craig Projecto-Editor

The clearest, most
versatile viewing
device you ever
have seen. Puts
that professional
smoothness in your
work.

8mm

Model, com-

plete

with splicer, re-

wind

and film ce-

ment

$30.50

8mm

Projecto-bd itor

alone

.... $22.50

16mm

Model with

Sr. Splicer and re-

winds

$52.50

iant m

liniature screen.

Fast or slow motion,
smootli movement. The Craig Projecto-Editor adds
a Hollywood {Perfection to your home movies.

16nim Senior SpEiccr

A vital part of your equipment. Four
simple operations result In perfect,
straight splices, quickly and accurately
finished. Designed for your comfort,
pleasure and complete satisfaction.
Price $10.00.

If It's By Craig, If's Precision BuiifI

These and other units of Craig Editing Equi|>ment
have long set photographic standards. For best
results, use Craig all the way. You owe it to
yourself and to your camera.

rite for free descriptive folder today.

"MAKES EDITING A PLEASURE"

CRAIG MOVIE SUPPLY CO.

1053 So. Olive St. Los Angeles, Calif.

EDIT THE ERAIG WAY-
ALL THE WAY . . .

**VISI0NS

Color

♦

THE MOST
EXCITING
SUBJECTS
EVER FILMED!

J^ew, Thrilling
Series

in Gorgeous
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Studies to
entrance the
Artist, Cinema-
tographer, and
8- 1 6mm
Impresario

♦ ♦ ♦

Write today — NOW — for big,
exciting FREE LISTS of FILMS (all
types). PROJECTION SLIDES,
NEGATIVES, PHOTOS, etc., all at
special "never-again" prices.

Include lOc jor Sample Film

^IUCTCCT laboratory

Vili^blb^l PRODUCTS
1522 N. Mariposa St., Holywood, Calif.

Also: (HEW)

• COLOR

SLIDES

• ORIGINAL

NEGATIVES

• COLOR

PHOTOS

screen. Popular among this
type are the Craig Projecto-
Editor, the Filmotion Edi-
tor, and Fink-Roselieve’s
Cine-Action Editor. This
type viewing device is used
in conjunction with film re-
winds and splicer. Fitted
between the rewinds on an
editing board, the film pass-
es through the viewer, cast-
ing an enlarged image of
the scene in motion upon a
translucent screen or mag-
nifying lens.

Other types of viewers
are used in the same way
at the editing board, except
that they usually provide
for the magnification of a
single frame of film when
viewed through a viewing
unit.

Film rewinds, of course,
are an essential item of ed-
iting equipment and they
range all the way from sim-
ple home-made gadgets —
converted dime-store grind-
stones, in many instances —
to elaborate geared winders
with brakes and clutches
for controlling tension and
speed of film during
lengthy editing operations.

With these three items of
equipment — splicer, view-
er, and rewinds — any ama-
teur is capable of doing a
first-rate job of film edit-
ing. Moreover, with such
equipment at hand, he is as-
sured of continuous year
’round pleasure from his
hobby. For it is only from
viewing one’s film ef-
forts, propei’ly presented
on the screen, that the ama-
teur can improve his tech-
nique.

But more important is
the fact that, through good
editing, one’s films become
more enjoyable to friends
and neighbors, without
whose audience any ama-
teur’s cinefilming zest soon
dies on the vine. When
home movies remain un-
edited, they are screened
less frequently, and the am-
ateur fails to realize the
fullest measure of enjoy-
ment from them.

Right now, with length-
ening evening hours, edit-
ing and titling of home
movies becomes the ama-
teur’s chief indoor sport.
And once hc'^ets his mind
to the task, it takes but an
extended screening of all
available, unedited footage
to supply the inspiration
that leads to the first snip

of the shears, and the re-
sultant splices.

Where there is an ac-
cumulation of several rolls
of film picturing diversified
subjects, as in vacation and
travel pictures, often the
theme on which the whole
picture is to be threaded is
lacking. Essentially, of
course, vacation shots be-
long in one group, family
shots in another, and so
on. So it becomes neces-
sary first of all to review
the film, make mental notes
that will lead to later clas-
sification of scenes, then to
break down each roll in-
to separate scenes.

Previous issues of Home
Movies have pictured
many gadgets which ama-
teur’s have devised as a
means of holding these
scenes in editing order,
coiled and ready for splic-
ing. These gadgets range all
the way from cardboard egg
cartons to elaborate editing
boxes with a dozen or more
divisions for holding the
coiled film strips. Still an-
other simple expedient is
the use of a clothes hamper
or a laundry bag fitted with
a hoop. Around the top
are ordinary spring clothes
pins numbered from 1 on
up. As the scenes are cut
out of the roll of film, one
end is inserted under the
clothes pin, and the remain-
der of the film allowed to
hang in the hamper or bag.

After the rolls of unedit-
ed film are broken down in-
to individual scenes and ar-
ranged in order, the scenes
are ready to be re-arranged
according to the continuity
decided upon. This may be
facilitated either by mak-
ing written notations of the
contents of each scene on a
separate pad of paper, or
by attaching to each coiled
strip, a small tab of paper
bearing the identifying
data.

M 0 effort should be made
at this stage to delete un-
necessary frames or foot-
age, for this is best deter-
mined after a screening of
the first “cut” of the film —
that is, immediately after
all of the scenes have been
spliced together for the
fii’st time.

The film should be pro-
jected and studied several
times, pencil notes being
made all the while as a
guide to further cutting.
This is even more impor-

tant in editing scenarized
films where action must
often be cut at a precise
point to gain desired effect.

After many cuttings and
the final “polishing” of the
film, it should be projected
again for the purpose of
writing the final draft of
the titles. Often where ti-
tles are prepared before the
first cutting of the film, it
is found that additional
titles are needed, and these
frequently do not match, in
photographic quality, those
first made. Then, too, there
is the additional delay in-
volved.

Every edited film should
be titled. Titling can range
from a simple main and
end title to the more thor-
ough jobs consisting of
main, credit, explanatory,
and end titles. Titling is
the most neglected phase
of home movie editing, and
there are many reasons for
this, of course. Many ama-
teurs, for one reason or an-
other, neglect to have the
few necessary titles made
commercially. Those ca-
pable of shooting their own
neglect to do so simply be-
cause they have never first
“broken the ice” — made a
few titles. But this is get-
ting a little off the subject.

Invariably if the amateur
will venture whole-hearted-
ly into editing and splicing
his films, the need for titles
will soon manifest itself in
an ultimate title-making
venture.

Make This A
Home Movie
Ehristmas!

Plan to shoot movies of
your family, friends and
holiday visitors this year.
Stock up with ample film
in advance, and be sure
there are Photofloods and
reflectors in readiness.

If there’s a brother
cinebug on your gift list
this year, give him some-
thing “cinecal” he can
use — a gadget, accessory,
or article of equipment
that will give him pleas-
ure the year ’round.

There are gift ideas ga-
lore in the advertisements
of this magazine. Make
this issue of Home
Movies a shopping guide
for some of your gift
needs.

HOME MOVIES FOR NOVEMBER

PAGE 539

• I

The Reader

SPEAKS

Humidifying

Well, it looks like the
“drys” have it.

Gentlemen : Sometime
i ago you printed my experi-
ence with placing moisture
i: in film cans. Since then I

have talked with several
cine fans who have had the

I same trouble I experienced

■; — that of premature wear

and “rain marks.” In every
f instance, films were stored

I I in cans with humidifying
? pads that were kept moist
if over a period of time.

i When we consider that in
splicing film we moisten the
i emulsion to make its re-
ij moval easier, it does seem
j, logical that moisture from
i humidifying pads will soft-
en film emulsions to the
I point where any particles
'j of dust or emulsion accum-
'I ulation on film gate will
I more readily scratch the
I film as it passes through the
J projector, not to mention
• the added danger from
causing cinch marks during
' rewinding operations.

I| ; I am of the firm opinion
j’' that, except in extreme
I' arid zones, film will draw
j I sufficient moisture from the
j ' air itself to render it suffi-

Iciently pliable for continued
use.

I .•

I ' — Russell W. Bobzin.

I Profitable Mistake

I It shouldn’t hapyen to a

I dog — much less a cinebug.

1 But fate took a hand, and

! look tvhat happened.

Dear Sirs : Recently in
making a shot for our va-
j cation trip of the start of
our car, I wanted to gain
I the effect of early morning,

I although shooting at mid-

f day in bright sunlight.

Ready to film the shot, I
;l asked my wife to slip the
Kodachrome filter on the
j lens and hand me the

■ camera. She did, and not

I until after I made the shot

j did t discover that she put

i) on a regular yellow filter

I instead of the one for Ko-

I dachrome. (I was shooting

'! with type “A”.)

This turned out to be a
lucky accident, for when
the film was returned from
the processing station, I
found that I had gained ex-
actly the effect I wanted to
similate — early morning
dawn.

— Finley C. Bruce.

Forgot Filter

This amateur forgot to
use his type “A” filter; but
he solved his problem easily.

Dear Sirs : Recently I

had the experience of tak-
ing a half roll of 8mm.
Type “A” Kodachrome on
outdoor subjects without
using the compensating fil-
ter. Of course, when I got
my film back from the la-
boratory, the outdoor
scenes were predominantly
blue in tone. Worse, the
shots could not be re-filmed.

After projecting the pic-
tures several times, it oc-
curred to me that I might
still compensate for my
mistake by using the type A
filter in front of my pro-
jector lens. It helped a
lot. I found that, with the
filter in use with my pro-
jector, the highlights of
the near-spoiled shots took
on an orange-red tone and
that the blues of the deeper
shades were modified to a
lavender tone.

This did not give me true
color, of course, but it was
much better than the al-
most blue monotone of the
pictures without the use of
the filter.

— Lehman M. Rogers.

Club Picture

Your local amateur mo-
vie club may be interested,
in this picture. Also this
letter ivill serve as a re-
minder to other chibs to
make some of their club
productions available for
loan to other clubs.

Gentlemen : The Grand

Rapids (Michigan) Ama-
teur Movie Club, organized
in January, have just com-
pleted their first club film-
ing project, a 200-foot 8mm.
Kodachrome film entitled.

“The Iris Parade.” The
picture was made in con-
junction with the Grand
Rapids Iris Association
who, for the past few years,
have endeavored to promote
civic interest in the Iris,
our civic flower.

The film pictures the va-
rious floats and other sub-
jects of interest in the an-
nual Iris Parade. All scenes
were filmed by our club
members who were as-
signed to strategic positions
along the parade route. We
were unable to obtain shots
of the Pageant due to fact
this event was conducted
indoors.

This film is available for
loan to other amateur cine
clubs by addressing the
writer and stating date film
is desired.

— C. A. Starm

649 Lovett, S. E.

Grand Rapids. Mich.

Swappers

Here are more opportuni-
ties to swap odd bits of film
or to shoot scenes for dis-
tant amateur filmers. If you
are in need of shots of sub-
jects outside your area ,
send in your request for
publication in this column.
Be sure to specify film size
— either 8mm. or 16mm. —
and tvhether footage is
wanted in Kodachrome or
black and white.

Dear Sirs : I would like
to get 8mm. Kodachrome
shots of the following Ha-
waiian scenes: net throw-
ers fishing in the surf ;
torch fishing; closeups of
surfboard riders ; and a
Hawaiian luau. If there are
any filmers in Hawaii who
have such shots or are will-
ing to make them for me,
I should be glad to hear
from them and exchange
shots made on the main-
land.

— M. R. Ehrer,

2920 ' 2Sth St..
Sacramento, Calif.

Gentlemen : I should like
to hear from anyone who
could supply scenes made
on 16mm. Kodachrome of
the following: Mexico City,
Cuernevaca, Taxco, Aca-
pulco, Patzacuaro, Puebla,
Orizaba, Fortin, and Cor-
doba.

— Ray E. Simpson,
Straus-Fran\ Co.,
Flouston, Texas.

A Tip from HOLLYWOOD

for Personal Movie Makers

IN HOLLYWOOD, they know it takes
the finest equipment to make the fin-
est movies. Studio experience has taught
producers, directors, cinematogra-
phers, and stars that the name Be// &
Hcruell marks the finest professional
equipment. So, for personal movie equip-
ment, it was natural for them to choose

HOWELL

.. .and they found Filmo built to the same
high precision standards . . . built to give
projessional results with amateur ease.

That’s why most professionals use
Filmo for home movies. Their example,
surely, is a good one for you to follow.

Write for informative booklets on
any 8 mm., 16 mm., or 35 mm. motion
picture equipment that interests you.
Bell & Fiowell Company, 1825 Larch-
mont Ave., Chicago; New York; Holly-
wood; Washington, D. C.; London.
Established 1907.

IVOW. . !

NATURAL COLOR
MOVIES in 8mm!

IVew Releases:

Floral Favorites, showing in-
dividual flowers and displays
of Orchids, Camellias, Oli-
vias, etc.

California Missions, including
the famous Santa Barbara
Mission and the Sacred Gar-
den.

Junior Midget Racing, Amer-
ica's newest children's sport,
thrilling, exciting.

New Zealand Clipper — Ex- fl
elusive pictures of the first
flight arrival completing 15,-
000 miles.

NEW RELEASES EACH MONTH
50-foot Reels, $4.00 each

(California Buyers add 3% sales tax!

Ask your dealer or write

/ludicbrDmc Piclure.s

2964 West Broadway
(Eagle Rock Station)

Los Angeles. California

PAGE 540

HOME MOVIES FOR NOVEMBER

Now at last you can get make-up specially
developed for your black-and-white photogra-
phy. Subdue bad features, achieve flattering
movie-quality pictures and save retouching!

Hampden's Photographic Make-up is a com-
plete easy-to-use kit for all your make-up
needs. It comes in the new stick form with
full instructions on how to use!

Creamy • non-greasy • blends perfectly •
easy to remove • conceals minor defects •
gives the skin a beautiful, smooth, satiny finish.

Save time, trouble, wasted film and have
more beautiful, natural-looking pictures. Get
your kit at any photographic store or from
Hampden Sales, 251 Fifth Ave., New York.

PHOTOGRAPHIC MAKE-UP

NO W1

A High Quality
16mm Reversible

Outdoor Film
lOO-ft Roll $1 .98

For Only

Rating Scheiner 18

A High Quality
8mm Reversible

Outdoor Film
25 ft. Double 8 QQ^
For Only

Fast Service — Processing same day included.
Ask your dealer or send money direct.

Write for prices on developing and processing
your Bmm and 16mm films — even if you bought
them elsewhere.

Visual Instruction Supply Corp.

1757 Broadway Brooklyn, N. Y.

—BIG: SCREEN LITTLE MONEY! ,

MOGUL-LITE FOLDING SCREEN. Best, hea'ry
white "Gloscreen” material; assures bright, clear
picture. Sturdy, tape-reinforced edges fitted with
rings

scretching.

- List Special

I2'x9' $20.00 $18.00

I5'xl2' 32.00,.... 28.80

(Each in zipper carrybag)
16mm projectors. Sound, silent. Low prices, easy
terms. Trades accepted. Monthly Terms. Rental
films sent anywhere.

for hanging and

List Special

6'x4' $8.00 $7.20

8'x6' 12.00 10.80

10'x8' 16.00 14.40

M O G U L L ' S

55 W. 48th St. (Radio City)
NEW YORK. N. Y.

/^frTYOUR MOVIES NEEDTITLEr

. lun making titles in color or black and white.

You'll got Initials, Numerals. Decorations, Ttac-
ing Paper. Background Figurette. Act Quickly ! No obligation.
Mention name of camera. Send 3{. to coyer handling. Write Dept. I
^^t^^JOVlEACCESSORIES, 175 Fifth Ave.,N.V.C.

AT YOUR DEALERS Only 45c a Bottle

For Coloring Movie Scenes and Titles
Send for FREE Bulletin No. 20
MANSFIELD PHOTO RESEARCH LABS.

Dept. HM-II, 701 So. La Salle St., Chicago, III.

ouieA

muLe indoors

Continued from Page 5 1 3

tached standard light soc-
kets and the units then
mounted on suitable stand-
ards constructed of wood.
The metal clamps, which
are a part of the commer-
cial clamp-on reflectors,
are also available separate-
ly from auto-supply houses
and hardware stores, and
many amateurs have at-
tached these to their home-
made reflectors as a means
of affixing their equipment
to furniture, etc., in light-
ing indoor sets.

There is also a Photoflood
lamp on the market which
makes reflectors unneces-
sary for medium and close-
up shots. This is the R-2
type Photoflood pictured in
use in the illustration at
beginning of this article.
These lamps are mushroom
shaped; have a highly re-
flective inside surface of
silver; and give a smooth
60 degree controlled beam
of light. Actually, the R-2
Photoflood is a combination
reflector and No. 2 Photo-
flood lamp. Photographi-
cally, it is equal to 1500
watts of standard lighting
lamps in good reflectors.
Three may be safely used
on one regular house light-
ing circuit.

As to the characteristics
of the No. 1 and No. 2
Photofloods, the No. 1 is the
same in physical size as a
standard 60-watt lamp, yet
photographically equal to
as much as 750 watts in
standard lighting lamps.
As many as six No. 1 Pho-
tofloods may be safely used
on one regular house light-
ing circuit. The No. 2 Pho-
toflood is physically the
same size as a standard
150-watt house lamp, but
photographically equal to
as much as 1500 watts in
standard lighting lamps.
Three No. 2 Photofloods
may be safely used on one
regular house lighting cir-
cuit.

The life of Photoflood
lamps is short — much less
than that^Tordinary house
lighting lamps. Rated life
of the No. 1 is 2 hours at
115 volts, and the No. 2, 6
hours at the same voltage.
As these lamps are used.

their brilliance is gradual-
ly diminished to some ex-
tent by the blackening of
the inside of the bulb
caused by their intense
heat.

Another Photoflood lamp
which hasn’t yet been men-
tioned here is the No. 4, a
giant lamp the physical size
of a 300-watter. It is rated
as photographically equal
to 21/2 1000-watt lamps.
Rated life of this lamp is
10 hours at 115 volts.

With the foregoing in-
formation at hand, the am-
ateur may now choose the
type of equipment neces-
sary for his particular job
of indoor cinephotography.
Then with his equipment
assembled, he is ready to
shoot. Basically, the lights
belong at either side of the
camera when shooting is to
be done. This produces
what is known as “flat”
lighting and is adequate for
all types of closeup shots.

EXPOSURE TABLES FOR PHOTOFLOOD LAMPS

For Use v^ith Good Reflectors

Photoflood

Lamps

Distance

Lamps

Subject
in Feet

•Diaphragm opening for films
Weston Mazda speeds of:

with

3 1

5 1

6 1

8 1

16 1

20 1

3'/j

1 f2.8

f3.5

f4.5

f5.6

f6.3

f2.8

f4.5

f5.6

f8 I

41/2

fl.9

f3.5

f4.5

f2.8

f6.3 1

5'/2

fl.5

fl.9

f3.5

f5.6

One

fi.9

f2.8

f3.5

f6,3

No. 1

A'/2

f4.5

Lamp

fl.5

fl.9

t2.8

t5.6

fi.5

f2.8

f4.5

8'/2

fl.9

f3.5

fl.5

fl.9

fl.5

fl.9

f2.8

f3.5

" 31/2

f3.5

f4.5

f5.6

f6.3

f3.5

f4.5

f6.3

fll

41/2

f2.8

f5.6

f6.3

f3.5

f4.5

f5.6

fll

5'/2

f2.8

f3.5

f5.6

fl.9

f2.8

t4.5

Two No. I 's

e/2

f4.5

f6.3

f2.8

f3.5

One No. 2

fl.5

fl.9

f3.5

f5.6

f6.3

8I/2

f2.8

One No. R2

fl.9

f3.5

f4.5

fl.5

fl.9

f2.8

f5.6

1 1

fi.5

f2.8

fl.9

f3.5

f4.5

fi.5

fl.9

fl.5

fl.9

f2.8

f3.5

3'/2

f5.6

fll

f4.5

f5.6

fl6

41/2

f3.5

f4.5

f6.3

f2.8

f5.6

fll

5'/2

f3.5

f4.5

f6.3

f3.5

f5.6

f6.3

fll

6'/2

f2.8

f3.5

f4.5

f5.6

71/2

fl.9

t2.8

t4.5

8Y2

f2.8

f3.5

f4.5

f6.3

Y'/2

tl.5

fl.9

t3.5

f5.6

101/2

fl.9

f2.8

f3.5

] !

t6.3

f2.8

f4.5

f5.6

121/2

fl.5

fl.9

fl.5

f2.8

fl.9

f3.5

f4.5

fi.5

3'/2

f5.6

f6.3

fll

f4.5

f5.6

f6.3

fll

fl6

41/2

f3.5

t4.5

f5.6

f6.3

fl6

51/2

f4.5

fll

t2.8

f3.b

t4.5

tb.6

f6.3

6'/2

f6.3

t3.b

tb.6

fll

7'/2

f2.8

f4.5

t3.5

tb.6

One No, 2

B'/2

fl.9

f2.8

f4.5

and

9'/2

f2.8

t3.5

t4.5

t6.3

fl.5

tl.9

t2.8

t3.5

f5.6

fi.9

f3.5

f6.3

t2.8

t4.5

fi.5

fi.9

f5.6

fl.5

f2.8

fl.9

f3.5

f4.5

fl.5

•For Weston speeds of popular films refer to Exposure Meter Guide on
another page. (See Table of Contents.)

This data based on interiors and subjects of medium color.

For light colored subjects and interiors close diaphragm one-half stop.
For dark colored subjects and interiors open diaphragm one-half stop.

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■■■'s

HOME MOVIES FOR NOVEMBER

PAGE 54T

especially where the ama-
teur is not yet prepared to
experiment with side and
back lighting.

Later, as the filmer pro-
gresses, he will experiment
by placing some of the light
so it will fall on one side of
the subject as well as in
front, or perhaps elevate
one or more of the light
sources so the light will fall
from the more natural po-
sition of above. For this
reason, use of standards,
articles of furniture, etc.,
as a means of holding the
lights above plane of cam-
era, is recommended.

Where two or more Pho-
tofloods are used — and
henceforth this term will
mean Photofloods in good
reflectors — it is not neces-
sary that they be placed
side by side facing the sub-
ject, in fact they should
not. All the light coming
from one point produces a
flat lighting effect with an-
noying deep shadows in the
background. For a moder-
ate closeup shot, placing
one light at right of cam-
era and the other to the left
and at a higher elevation
or closer to the subject, will

at the breakfast table. The
boy is reading the prize of-
fer on the breakfast food
carton. Offer concerns a
magician’s outfit to be
given free in return for 15
box tops. Boy’s parents
agree to buy the necessary
15 boxes of breakfast food.

Next sequence shows boy
writing letter while his
mother and sister stack
the boxes of cereal about
him preparatory to remov-
ing the box tops, and also
to remind him how much of
the cereal he will have to
eat. He mails the letter,
and a title inserted at this
point bridges the imagi-
nary time lapse of a few
days until the magic set ar-
rives.

The boy eagerly unwraps
the gift, and r e a d s the
accompanying instructions.
His sister is inclined to be
skeptical of the magic
wand’s powers. But the
boy, eager to try it, asks
sister to hold out her hand.
Passing the magic wand

tend to give the modeling
effect so apparent in pro-
fessional cinematography.

You may wish to make a
living-room shot with sub-
ject or subjects seated in a
chair near a table lamp. A
more natural effect and ad-
ditional illumination may
be gained by placing a No.
1 Photoflood in the table
lamp. Here, of course, no
reflector is used.

On the opposite page
may be found a complete
indoor lighting chart, giv-
ing dependable exposure
settings for cameras ac-
cording to number of Pho-
toflood lamps used and the
distance of same from sub-
ject. Indoor exposures are
always governed by dis-
tance of light source from
subject — not distance of
camera from subject.

Study these tables care-
fully, then proceed with
making your indoor movies.
For those interested in the
more advanced stages of
indoor lighting for home
movies, we suggest watch-
ing future issues for ar-
ticles dealing with this sub-
ject.

over it and saying a few
mysterious words, he causes
a sandwich to appear in her
outstretched hand. And
then as she is about to taste
of it, another gesture with
the wand causes the sand-
wich to disappear.

Sister, now convinced of
the magic wand’s incredible
powers, asks to try it. She
causes flowers to instantly
appear in an empty vase ; a
pillow to fly off the couch:
a kitten to rise up and out
of the scene; and then she
waves the wand over her
brother and causes him to
disapjDear and then to re-
appear again. Other tricks
are accomplished and then
mother enters the room
with cuts of a freshly baked
cake.

This holds far greater
appeal for them than magic
and the children stop their
magical maneuverings in
favor of eating cake, but
not before putting the
magic wand safely away
for fear it might cause the
cake to disappear, too.

Editmg: Was very well
done. There was just a bit
too much footage given to
the early scenes showing
the stacking of breakfast
food boxes. In another in-
stance, we see the boy walk-
ing toward a mailbox in a
long shot, then approach it
from the opposite direction
in a medium shot. But these
flaws are still easily cor-
rected.

Titling: From the ani-
mated main title to the clos-
ing title, effects, composi-
tion and photography are
very good. A titler was used
that provided for a large
title card area and this per-
mitted the use of large
block letters. All titles were
in Kodachrome, in keeping
with the picture, and deco-
ration was kept to the mini-
mum. Revolving of main
title was evidently accom-
plished with aid of photo-
graph turntable.

Photogra-phy: With more
than 90% of this picture
shot indoors, the lighting
and exposure is extremely
good. A sturdy tripod was
used in shooting all scenes
which enhanced the picture
considerably. C 1 o s e u p s
were plentiful, so impor-
tant to a movie of this type.
The closeup re-action shots
of members of the cast
were well done.

"MARCH OF PLAYTIME" ★★★
750 Ft. I6mm. with S. O. R. — By H. M.

Remarks : The symbol
“S.O.R.” above denotes this
picture is accompanied by
sound on records. Three
12-inch double faced rec-
ords accompanied this pic-
ture. These were prepared
recordings of narrative
with background music
plus some highly effective
sound effects such as the
clucking of chickens, crow-
ing of roosters, etc.

Contimiity: This picture
is a graphic and highly in-
teresting movie record of
a little boy made during his
second year. It begins with
a pei’iod shortly before
Christmas and pictures the
things he does to amuse
himself indoors and out.
There are some especially
good camera studies of the
boy playing with his toys,
and raiding the jam and
cookie jars in the kitchen.

During the following
spring, the lad is pictured
playing in the park with a
host of playmates; then in

lAJant a 3-itar ieader . . .

Continued from Page 525

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PAGE 542

HOME MOVIES FOR NOVEMBER

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his own yard ; a birthday
party ; and then the final
sequence of the boy and his
family on a vacation in the
Catskill mountains.

Editing: Generally good.
A few scenes could be
shortened, but this is not
objectionable considering
the fact this is a personal
movie record where extra
footage is seldom deleted
for sentimental reasons.

Titling: This phase of

picture was exceptionally
well done. Main title be-
gins with shots of parade
of toys carrying banners
on which are lettered all

screen credits, then the
main title. Subtitles are in
white lettering over a dark
background. All were nice-
ly exposed, well centered,
and worded.

Photography: Consis-
tently good. Notable are
some shots outstanding for
their composition — espe-
cially those made on the
farm. Indoor shots are
commendable for the fine
manner in which they were
lighted. And this filmer
rates extra credits for the
many fine closeups he made,
giving the required footage
to each.

•TITLE TROUIIIES-

By GEORGE W. CUSHMAN

I F you have any ques-
tions pertaining to titles
or title-making, Mr. Cush-
man will be glad to answer
them. Address him in care
of Home Movies or his res-
idence, 504 Stanton Ave-
nue, Ames, Iowa. In ex-
plaining your title troubles,
include information such as
type of equipment used,
film, light source, and
where possible, send along
a sample of the title film.
Enclose a self-addressed
stamped envelope if you
wish an early reply.

Q. Hotv can I determine
the thickness of a shim for
close-up work? — C. A. U.,
Detroit, Mich.

A. The thickness of a
shim is determined as fol-
lows :

DxF

D is the distance from
the object to the lens.

F is the focal length of
the lens.

S is the thickness of the
shim.

Since this results in frac-
tions of inches, it is recom-
mended that the whole pro-
cedure be figured in milli-
meters.

The result will be the fo-
cal length required for ac-
curate focus. From this re-
sult the Tbcal length of the
lens is subtracted, leaving
the additional focal length
still required for accurate
focus, and a shim of this
thickness is required.

Q. After making several
titles the other evening, I
found a dark spot near the
center of each of them for
tvhich I cannot account.
Have been making positive
titles for years, hut this is
the first time this has hap-
pened.— M.S., Albany, N.Y.

A. Evidently somewhere
near your titler was a third
light, perhaps in the ceiling
or in a lamp close by which
was magnified by your aux-
iliary lens onto the title
card, thus resulting in the
dark spot you mention. This
often happens, and for this
reason it is best to turn out
all the lights in the room
except your flood lights
when making titles. This
explains why you never had
this trouble before, and
probably never will again.

Q. In trying a typewriter
shot recently it was my in-
tention to have the type-
writer type out the letters
as the camera mude the ex-
posure. Hoivever, the paper
was so badly ove^'-exposed
that the letters could not
be seen. But ivhen I exposed
less, the typew7'iter was un-
der-exposed. I’ve seen such
shots, so know it is possible.
How is it done? — Dr.
D. F. M., Ashland, Kansas.

A. In addition to placing
your lights more carefully,
so that the concentration
falls on the typewriter in-
stead of the paper, I would

suggest you use colored pa-
per in the typewriter, eith-
er blue or yellow ; and more
important than either of
these a new, heavily inked,
black ribbon. But the col-
ored paper, I am sure, will
end that glare.

Q. In making fades with
my Cine Special and 'using
positive film, I notice the
fades aren’t smooth. In-
stead, the letters seem to
disappear with a jerk. I
am trying for a two-second
fade and am careful to close
the shutter very evenly.
What am I doing wrong? —
S. C. J., Spokane, Wash.

A. Although you did not
say in your letter, I sup-
pose you are completing the
fade by lap dissolving with
a white sheet of paper. As
you no doubt know, the lati-
tude of positive film is not
great, thus when you reach
the point in closing your
shutter where the latitude
drops the quickest, your ex-
posure also is affected in
proportion. Then when you
fade in again on the white
sheet of paper, the same
thing happens, only in the
reverse order so that as the
title suddenly starts to be
underexposed, the white
paper causes the overexpo-
sure, resulting in the effect
you describe. I suggest you
operate the shutter-lever
more slowly between the
i/4-open and i/^-open posi-
tions, speeding up as you
approach the “closed” and
“open” ends.

Q. Please suggest a way
to use pin letters with small
backgrounds. I have no way
of enlarging these back-
grounds. Can this be done
ivithout going to this ex-
pense?— A. K., Toronto.

A. Yes, if you have a way
of photographing the back-
ground direct with your
movie camera. If you can,
proceed as follows: Place
your pin letters on a deep
black background, such as
black paper or cotton vel-
vet. Expose the title, fa-
voring under-exposure. In
a dark room rewind the
film and re-expose on the
background. If you are
careful, there is no reason
why you should not get per-
fect results. A notch, cut
in the film before and after
exposing the lettering,
helps to locate starting
point when rewinding the
film.

HOME MOVIES FOR NOVEMBER

PAGE 543

Olil^

youl

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you value because they can give pleas-
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tory services.

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Quality 8mm. Cine Films.

ESO-S PICTURES

"Quality 8mm Service’*

3945 Central St., Kansas City. Missouri

G-E Film Ratings (Dr.
M. E. Gorman, Lindsay,
Ont., Canada.)

Q. In the August issue of
Home Movies there ap-
peared a chart of emidsion
ratings for 8mm. and
16mm. films in which regu-
lar Kodachi’ome (daylight)
teas rated 12 for day and
U for Tungsten tinder the
heading “G-E.”

In the Photo-Data book
tvhich accompanied the G-E
meter when I purchased it,
regular Kodachrome is rat-
ed by General Electric the
same as Weston — 8 and 3.
Mas General Electric
changed their rating for
this film or is this the re-
sidt of your oivn research?

A. In recent months.
General Electric Company
completed research of all
film emulsions which led
them to establish a com-
pletely new scale of emul-
sion ratings to be known
as “G-E” ratings in connec-
tion with the use of their
meters. Until recently,
emulsion ratings had been
determined with G-E me-
ters according to Weston
figures. But G-E’s meter
differs from Weston’s and
hence decision to establish
their own emulsion figures.

The rating of 8 and 3
Weston still applies where
exposure meters are em-
ployed that follow the Wes-
ton ratings. But if yours
is a G-E meter, the rating
of 12 and 4 G-E is correct
for regular Kodachrome
film.

Projector Power (E. J.

Littrell, Little Silver, N.J.)

Q. Am about to purchase
an 8mm. projector for
shoiving m ovies in my
home. I find such projectors
ranging in poiver all the
ivay from 100 to 700 xvatts.
As mine tvill be used for
shoiving pictures in my liv-
ing room — with a possible
throiv of 15 to 20 feet, what
size bulb should my projec-
tor have? 700 or even 500
watts seems like a lot of il-
lumination for so short of
throiv.

A. A projector fitted ^v^th
a 400 watt bulb should give
you satisfactory results if

• Readers: This department
is for your benefit. Send in
your problems and our tech-
nical board of professional
cameramen will answer your
question in these columns. If
an answer by mail is desired,
enclose addressed stamped
envelope.

a crystal beaded screen is
used. Where a plain white
or aluminum surfaced
screen is to be used, a more
powerful projection bulb
will be required.

But one thing to remem-
ber is that wattage of lamp
alone is not a true gauge of
screen illumination. It’s the
light that reaches the
screen that counts. Projec-
tors equipped with fast pro-
jection lenses and advanced
optical systems insure most
screen brilliancy.

Depth of Focus (Fred
Harper, Santa Ana, Calif.)

Q. If a telephoto lens
opened to f / U.5 transmits
as much light as a one-inch
lens opened to f / h.5, why
doesn’t it have the same
depth of focus?

A. Depth of focus is de-
pendent upon size of the
diaphragm opening and
not upon size of opening
with relation to focal
length. For example, a
diaphragm opening measur-
ing' Vs" in diameter on a
one-inch lens gives a value
of f/8; whereas a 1/8" open-
ing on a 3-inch lens gives a
value of f/24. The 3-inch
lens, set at f/24 will have
the same depth of focus as
a one-inch lens set at f/8.

To find the f value of a
lens, divide the focal length
by diameter of the dia-
phragm. Thus, to get the
same f value on a telepho-
to as on a one-inch lens, the
diaphragm must open
wider.

Film Fog (Ambrose L.
Smith, Seattle, Wash’n.)

Q. I thought mine was
the only 8mm. Kodachrome
film that came back from
the laboratory with those
frequent reddish light flash-
es on the margin; but after
viewing films of several of

COMPARE THE RESULTS!

COMPARE THE PRICE!

WEIGH THE FACTS!

Do what thousands of
smart home -movie-
making enthusiasts
are doing . . . switch
to KIN-O-LUX for the
finest in movie film
values.

RATING
Weston 12
Scheiner 20®

$3.75

100 it.

KIN-O LUX. INC. • 105 W. 40th St. • New York

Aeut Harrison jbwialim.
MOVIE FILTERS & KITS

Snappy new SCREW-IN TYPE MOUNTED FILTERS to
fit all 8 mm. cameras having Wollensak 1.9 and 3-5
lenses, including Keystone, Boll & Howell, Perfex and
Revere. Single filters . . . $2.00 each — Kits, containing
Kodachrome Haze and C-4 filters, Snap-on Shade and
filter-fold as above . . . $4.95.

AT ALL DEALERS— WRITE FOR FOLDER

HAHRISDIVI & MHHISOIV

Optical Engineers

8351 Santa Monica Boulevard Hollywood. California

^erPrb<-a*b

Ir — i

[ jCLEARING L

H POWDER f

GENERA

PROCESSING POWDERS
for MOTION PICTURE FILMS

Proc«ss Your Own Movies — easy and thrilling.
SAVES TIME, MONEY. Use GENERA Film,.
No. 1 Sot — Vta grallon size: PD12 developer, OSC; Bleach,
16c; Clearing, 25c; Hardening, 20c: Complete Set
Postpaid. $1.25.

No. 2 Set — One gallon alze: PD12 developer, 9Bc;
Bleach, 25c; Clearing. 40c; Hardening. 25c; Com-
plete Set Poetpald, $1.85. Simple processing In-
structions furnished free with each order.

QENERA DESENSITIZER allows Panchromatic Film to
be processed in brighter light. Bottle dilutes to 2 gal-
lons, postpaid. 8Sc.

Write for desodptlve circulars of money saving Movls
Supplies.

FROMADER GENERA CO., Davenport, Iowa

Christmas Deliveries

THE Order now! Small deposit holds
cur^DTA^c selection. Balance on delivery
dnUKIAvt Q(^ monthly terms. First

payment February I, 1942. Sound-silent rental
library. Bargain list sent FREE!

If ic*s Cinematic or Photographic, we have it!

MOGULLS (“£' ) 64 ;r"Vrc^

16mm SOUND on Film

Recording Studio and Editing Facilities

BERNDT-MAURER RECORDER

GEO. W. COLBURN LABORATORY

II97-A Merchandise Mart CHICAGO

FRANK BRODA 979Msr37’ st

CINEMATOGRAPHER BROOKLYN. N.Y.

PAGE 544

HOME MOVIES FOR NOVEMBER

COMPARE THE RESULTS!
COMPARE THE PRICE!
WEIGH THE FACTS!

ImSj;

Do what thousands of
smart home-movie-
making enthusiasts
are doing . . . switch
to KIN-O-LUX for the
finest in movie film
values.

RATING
Weston 50
Tungsten 40
Schemer 26®
Tungsten 24®

$6.00

100 it.

KIN-O-LUX, INC. • 105 W. tOth St. • New York

COLOR PRINTS

FOR

Christmas Cards

from your 16mm, Kodachrome movies!
Use frames from your 16mm. Koda-
chrome movies for Christmas cards
. . . gay and exciting, each print is a
2!/^x2% enlargement — just right for
Xmas cards! Select a strip of ten con'
secutive frames from which we will
make 8 color prints at 50c per print.
Duplicate prints 25c each. SOLD
IN GROUPS OF 8 ONLY.

Order Early • Order

COLOR PRINTS l«C.

* 1711 N. VERMONT AVE., HOLLYWOOD

Bass says:

Since the flickerful days of
long ago I ain't seen noth-
ing to compare with the

RCA IGmm SOUND
ON FILM CAMERA

No longer any reason
why you can't take "pro-
fessional" type pictures with this mar-
velous camera on the market to assist you.
NEWS MODEL, with I" F:3.5 lens, bat-
teries and mike $275

RCA Stud io Recording Galvanometer-
metal housing, connecting cable, not in*
eluding optical system of Amplifier, $125
BERNDT AURICON: I6mm S.O.F. Recorder

with noise reduction unit for double system re-
cording . . . two units complete $695

Write for Free Literature

Send for free CINE BARGAINGRAM

Dept.
H. M.

0ass

CAMERA COl»

I79W.MADISON $X
CHICAGO.ILL.

No more scratched, curled or dirty
films or prints — and they’re easy
to file and find. Look like books
(Sl/g X 7"). Blue, green, red or black.
SLIDE FILE holds 300 slides

2x2" $1,00

NEGATIVE FILES. 3 styles, 35
mm (strips or rolls) to 5 x 7" $ 1 .00
PRINT ALBUM. Loose leaf 5 x 7".
Acetate covered mounts.. . $1.75
Also larger sizes.

MOVIE REEL FILES Sand

16 mm $1.50 and $1.95

At stores or sent direct prepaid
on 10 Days Money-Back Trial.
Write for folder showing complete line

AMBERG FILE & INDEX CO.

KA OUTDOOR OR
AMBERTINT
Per lOO' Roll
Machine-processed,
spooled and mailed.
California buyers
include sales tax.

HOLLYWOODLAND
STUDIOS
Southgate, Calif.

my friends, I find they have
the same trouble. Is this
faidt inherent in Koda-
chrome? What causes it?

A. No, the fault you
mention is not inherent in
Kodachrome. It occurs with
both black and white and
Kodachrome film, and is not
the fault of the film but of
the camera user. Since the
advent of amateur movie
making and use of daylight
loading film, movie ama-

teurs have continuously
been cautioned NOT to load
or unload their cameras
with film in BRIGHT sun
or other light. Regardless
of how careful you may be,
light is bound to reach
down between the film and
camera spool if loading is
done in brilliant light. This
precaution is doubly im-
portant to the 8mm. filmer
because he must open his
camera to turn over the

spool and re-thread the film
into the camera. Often this
is done in a hurry and
without thought of fogging
danger.

It is true that far too
many amateurs’ films suf-
fer from this fault and the
best preventive is to load
or change your films in-
doors, or outdoors in ex-
tremely subdued light. More
and more amateurs are us-
ing a black cloth changing
bag for this purpose.

• Continued from Page S24

With the chemical fade-
making process, the dye is
dissolved in water, then
placed in a tall narrow bot-
tle with a large neck, such
as a pickle or milk bottle.
End of the film to be faded
is weighted with a small
lead pellet or other device,
then slowly immersed by
gradually lowering it into
the bottle of dye solution.
This continues until weight-
ed film end reaches bottom
of bottle. Then it is slowly
withdrawn. The first few
frames, being the first to
enter the solution and the
last to leave, naturally are

ude

diSAoiveds

subjected to more of the
dye, which imbeds itself in
the emulsion. The result is
a gradually dyed area of
film strip, the length of
which depends upon the
length of fade desired.
Forty frames is considered
the maximum length of a
fade. Many are consider-’
ably shorter, depending up-
on the screen effect desired.

The next important tran-
sition effect is the dissolve,
also known as a lap-dis-
solve because it consists of
a fade-out and a fade-in
overlapping one another.
The dissolve is often em-

ployed to effect a change of
scene or locale without indi-
cating a lapse of time. For
example, if we have a scene
depicting the departure of
a character by rail or auto-
mobile, instead of closing
the sequence with a fade-
out and opening the next
sequence, showing his arri-
val at destination, with a
fade-in, the current prac-
tice is to lap dissolve the
two scenes. This eliminates
the time lapse necessary
where fades are used, and
makes for smoother con-
tinuity.

It has many other uses,

Emulsion Ratings for 8mm and IBmm Films

Scheiner

Weston

G-E

Scheiner

Weston

G-E

-M

AGFA

GENERA

100

125

100

16mm Positive

16mm Plenachrome

KIN 0 LUX

No. 1

No. 2

No. 3

JDUPONT

Regular Pan (Rev.) Type 321

.20

CONSUMERS

100

Superior-2 (Neg-Pos or Rev) Tvpe 301

Panchro

Type 314 Pan (Neg.-Pos. or Reversal).

Colorcrome

Positive Type 600

1/6

Sound Recording Positive Type 601 .

HOLLYWOOD

S. S. Riu

EASTMAN

Pan

100

125

100

16mm Super X Pan

16mm Safety

UNIVEX

IGmm Sound Pan

Standard

16mm Pan. Negative

Ullrapan

16mm Positive

8mm Super X Pan

GRAPHICHROME

14*

Plus

Kodachrome “A” (8 and 16mm)

18*

12*

SupfTpanex No. 100

100

Sviperpanex No. 24

GEVAERT

(,'olortone

Super Reversal

Panchro

Ortho

*witli filter.

IRatings for last four Dupont films are for straight development. Ratings for reversal depend upon processing formulas and technique employed.

HOME MOVIES FOR NOVEMBER

PAGE 545

WIDE ANC^E
SCREEMf

O IDEAL LIDHf kEfLiCriONI
Q HIGH OUALITT-^OW COST!

/ Prove it to yourself.

Angle Screen sample, test kit,
chart and descriptive literature on
Screens, Spotlights, Cases and
Slide Files.

MOTION PICTURE SCREEN t ACCESSORIES CO., Inc.

351 West 52nd Street . New York City

CORONA H

SAME PRICE FOR I5MM OR DOUBLE 8MM.
ALL FILMS HAVE ANTI-HALO BACKINGS.
PRICES DO NOT INCLUDE PROCESSING.

SPEED 100 Ft. 400 R.

RAPID-X-PAN 100-80 $3.60 $12.95

SUPER-PAN 24-16 3.15 11.60

ORTHOCHROMATIC .... 12- 4 1.75 6.00

SEMI-ORTHO 12- 4 1.30 4.25

MACHINE REVERSAL PROCESSING— Double
8 or 16mm— 100 ft., 85c; 50 ft., 65c; 25
ft., 50c.

411 Orderx Shipped Postpaid Except C.O.D.
FREE BOOKLET on home processing instruc-
tions, plans and formulae with orders.
Single copies, 15c.

CORONA FILM LABORATORIES
1028 NEW YORK AVE. BROOKLYN, N. Y.

HOME TITLE LETTERS

Beautiful, classic style, solid Metal letters.
220 pieces %-inch capitals, %-inch lower case.
%*inch thick, lacquered white or black. Sets are
carefully selected for complete titles or you may
select your own set 220 pieces
Extra letters 4c ea. Photo of letters on request.
PRICE $5.00

California Letter Supply

2014 Holly Drive Hollywood, Calif.

HOME MOVIE PRO-
CESSING is easy with
our light-proof FLEX-
ON. Film completely
inclosed. Faster wash-
ing. Professional results.
Write for prices on
film and Rev. Proc.
powders.

The FLEXON CO.

1323 Byron, Chicago

8mm FILM SLITTER

Slits 16mm width film to exact 8mm width. Die
cast body, hardened steel cutting wheels. Will
not scratch film. Precision built. Price $2.98
At your dealers

RALPH V. HAILE & ASSOCIATES
215 WALNUT ST. CINCINNATI. OHIO

GIBBS

FLOOD-

GUNS

THE ONLY flood-light that follows the camera^ —
models for either still or movie cameras.

ARTHUR E. GIBBS

1925 N. E. Knott St. Portland, Oregon

BILL HART in

"TUMBLEWEEDS"

16mm Silent Rental Film

Wiite Dept. DM for free copy of 1941-42
catalogue. Specify sound or silent.

LEWIS FILM SERVICE

216 East First Street

Wichita, Kansas

fYourOwn

Film Titles

Photo titles, sta tionery , ^^ting:
cardis, bookplate's, advertising.
Ehisy rales furnished. Junior
Ootflts $8.2S ap. Senior $17 up.
Print lor Others, Big Profits. Sold
direct from factory only. Write for
free eataJocr aod all details. Kelsey
Prooses* W-94, Meriden, Conn.

one of which is a sort of
montage effect where a
series of scenes dissolve in-
to one another in rapid suc-
cession. One such dissolve
is pictured in the lower
left-hand photo at the be-
ginning of this article. Here
the filmer opened his se-
quence with a long shot of
a flower bed, then dissolved
to a closeup of one of the
flowers. This practice was
followed throughout the se-
quence which pictured
many varieties of flowers
and presented vivid close-
ups of each by the dissolve
method.

To make a lap dissolve it
is necessary to wind back
a portion of the exposed
scene in the camera in or-
der to double expose or lap
the succeeding fade-in over
it. Thus it is necessary to
have some practical means
for winding back the film,
and this has brought into
popular demand the build-
ing of wind-backs in vari-
ous types of both 8mm. and
16mm. cameras. Some mod-
els, of course, provide this
wind - back feature as
standard equipment, but
these are usually found in
the more expensive cam-
eras. In addition to the
wind-back, an accurately
calibrated frame counter is
required in order that one
may count back the num-
ber of frames necessary for
the lap dissolve. These al-
so may be built-in to most
cine cameras where same
are not already standard
equipment.

Some amateurs circum-
vent the difficulty present-
ed by lack of both manual
wind-back device and frame
counter, by taking the cam-
era into their darkroom and
then, after opening up the
film chamber, wind back
the film on the spool to the
required point, usually
designated by a notch on
the film or some other de-
vice. The camera is then
ready to shoot the fade-in
of the succeeding scene
which will complete the dis-
solve.

Wipe effects are among
the most recent mediums
developed by the profes-
sional cinematographer for
transitional effects in mo-
tion pictures. A true wipe
— t echnically termed
“wipe -off” or “wipe -on”
— is that where one scene

gradually spreads across
the screen in a wiping mo-
tion, displacing the scene
preceding it. Many ama-
teurs employ devices for
producing opaque wipe-off
effects, but the results can-
not be properly termed true
wipes. These amateur at-
tempts consist of darken-
ing a section of film, be-
tween two scenes, with
opaque tape, dye, or india
ink.

S ome amateurs have pro-
duced mechanical attach-
ments for their cameras,
illustrated and described in
earlier issues of Home
Movies, which produce ex-
cellent wipe effects during
filming. At the beginning
of this article is an illustra-
tion of an excellent ama-
teur-made-wipe produced
by a device designed and
built by Arthur Hart, a
member of the Cineme-
chanic’s Club of San
Francisco.

The wipe effects seen on
theatre screens are never
produced during filming,
but in the developing lab-
oratory with a special
optical printer. The wipe
is used whenever tem-
po of the action is fast and
a rapid transition is re-
quired. For the average
amateur, the true wipe ef-
fect is something he must
continue to yearn for, at
least until some enterpris-
ing individual comes along
with a simple and inexpen-
sive gadget that will enable
him to make wipes as eas-
ily as fades and dissolves.

After all, fades and dis-
solves are still the good old
standbys used by the pro-
fessional, and they will like-
wise serve the amateur ade-
quately when the occasion
arises to use transition ef-
fects. A word of caution
is necessary to the ambi-
tious amateur attempting
such effects for the first
time. Once having mas-
tered the technique of mak-
ing fades and dissolves, he
must not “wear out” the
mediums, planting too
many of them in a picture.
As already stated, each has
its specific pui-pose, and if
properly used, will enhance
a picture a hundred per
cent.

Ask Santa to bring
something for
your movie hobbyl

COMPARE THE RESULTSt
COMPARE THE PRICE!
WEIGH THE FACTS!
Do what thousands of
smart home-movie-
making enthusiasts
are doing . . . switch
to KIN-O-LUX for the
finest in movie film
values.

RATING

Weston Tungsten
100

Scheiner Tungsten

290

(No Outdoor
Ratings)

$6.40

100 It

KIN-O-LUX, INC. • 105 W. 40th St. • New York

Radiant

Automatic

Movie

Screen

Model D

A brilliant glass-bead screen surface gives per-
manent unsurpassed brilliancy. It stays flat. Will
not curl.

Erected instantly in three simple automatic
movements. There is nothing like the new Radiant
Automatic Screen. Nothing to equal it.

Size Price Screen

30 X 40 Only $13.75

Handy zipper case, made of black water-proof
simulated leather; cost extra.

mMC/PP//Ym

57 E. 9+h Street New York City

Distinctive TITLES
and expert EDITING

For the Amateur and Professional
16mm — 8mm

Black & White, Tinted and Kodachrome
Write for our new illustrated catalog

STAHL EDITING & TITLING SERVICE
33 West 42nd Street New York, N. Y.

^^oTnVing WINDBACKS

Guaranteed accurate. Expertly engineered and
installed. Money-back guarantee.

Keystone . . . 515.00 • Filmo . . . 519.95

Eastman .... 519.95

Precision liuilt Accessories for Every Heed
Write Us Your Requirements
CUSTOM BUILT CAMERA ACCESSORIES CO.
5712 Cedar Springs • Dallas, Texas

SPECIAL RELEASE

CHICAGO'S WORLD FAIR, 1933-1934

GET-ACgUAINTED OFFER;

A Complete Reel of the above film (8 or I6mm)
for $1.00

This will bring back memories

CROWN PRODUCTIONS

159 E. Chicago Ave. Chicago, III.

8 ENLARGED m REDUCED Q

TO lb TO O

Black and White and Kodachrome

GEO.W.COLBURN LABORATORY

Special Motion Picture Printing
II97-A MERCHANDISE MART
CHICAGO

When Tou Buy BAIA
Tou Buy the Best

Precision Made;
Guaranteed Perfect

$2.50

From Your Dealer or Direct

BAIA MOTION PICTURE ENG.
259 Gerald, Highland Park
(Detroit), Michigan

PAGE 546

HOME MOVIES FOR NOVEMBER

Macvan Turrets, Focusers and Backwinds for your
8mm and 16mm cameras.

Re-designed and Re-styled to match your cam-
era perfectly.

Positive NO-PLAY indexing on the turrets.
Fully guaranteed for two years.

We supply adapters to match lenses to your
camera, including adapters for model 20 and 25
Eastman Cine Kodaks to permit use of filters and
Wide Angle Lenses.

We solicit your lens repair work. Having lens-
grinding and polishing machinery ^ we can replace
broken and scratched elements in your fine lenses.

MACVAN MFG. CO.

3829 El Cajon Blvd. San Diego. Calif.

The BIG BOOK That
Tells You All About
'PRIZE' Enlargements

Fine projection printing
equipment for the seri-
ous worker. Write Dept.
SP for FREE Enlarg-
ing Treatise.

SOUR ENUR6US

Manufactured by

M ■ I ■% r 0 t A. k A I 223 Ml sdison St.

BURKE fir JAMESf Inc. Chicago, Illinois

"THERE IS NO SUCH THING AS"
Dry-Brittle-Rainy Films — When Processed With

" V I T A F I L M "

It Solves Your Film Storage Problem
Trial 4 Oi. Bottle 50c to $6.00 per Gallon.
See your nearest Dealer, or order direct.

R. D. HANISH COMPANY

93 East Longview Ave. Columbus, Ohio

8MM— TITLES— 16MM.

High Grade Printed Titles 25c —

5 Words, Extra Words 5c
B & W or Purplehaze

CINE SHOP

1812 Piedmont Dept. 7 Charleston, W. Va.

Use

Thrifty

16mm.

Film

Better Pictures at Less Cost

THRIFTY OBTHATTPE. for out-
door shooting, non-halation,
fine grain, per 100 ft. roll

THRIFTY PANCHROMATIC—

Per 100 ft. roll $4.25

THRIFTY SUPER-PANCHROMATIC
Per 100 ft. roll $4.50

California Buyers include Sales Tax.

THRIFTY FILMS

Drawer 98. Watts Station
Los Angeles. Calif.

?r"^ft, Co'or Photography^^, .jute ]
BOOKIjCT- Dept. •

First Step to Successful Picture

Free fllu-stratcd catalog, crammed with huirdreds of ne
«nd used bargains. Lists everything photographic — stilt
and movie cameras, films, lenses, equipment — at tre-
tftcndous savingv Liberal trade-in allowances. Satisfac-
tion guaranteed or your money back. lOday triaL Write
for your FREE copy— just out Hurry!

CENTRAL CAMERA CO.Dopt.

230 So. Wabash Ava., Chicago, III. SInca 1899

• Continued from Page 523

Yugoslavia signs axis pact.
. . King Peter repudiates
same. . . British and Italian
fleets clash. . . Nazis invade
Yugoslavia, Greece. . . U. S.
takes over protection of
Greenland. . . British troops
evacuate Greece. . . Italians
defeated in Abysinnia. . .
Haille Selassie returns to
Addis Ababa. . . Hess es-
capes to Scotland. . . Nazi’s
Bismarck sunk by British.
. . FBI rounds up Nazi
spies. . . British take Bagh-
dad, Iraq falls. . . Germany
invades Russia. . . U. S. oc-
cupies Iceland. . . Vichy
bows to Jap demand for
control of Indo-China. . .
Defense moves in Dutch
East Indies. . . Roosevelt-
Churchill mid - Atlantic
meeting. . . Silk stocking
stampede as Jap silk im-
ports drop. . . Aluminum
drive for defense. . . Gaso-
line curfew. . . U. S. S.
Greer attacked by sub. . .
Shooting war on sea author-
ized. . . England, Russia
invade Iran. . . Laval shot
in Paris. . . Ship launch-
ings, plane production, etc.,
in U. S. . . U. S. Army war

maneuvers. . . Defense
plant fires and explosions.
. . Dodgers win Series. . .
South America moves
against 5th columnists. . .
American Legion votes ap-
proval of 2nd A. E. F. . .
British Garrison holds at
Tobruk — and other events
yet to happen.

Imagine the tremendous
task laid before the editors
of Castle Films, when it
comes to formulating this
all-important picture of the
year. Out of the hundreds
of interesting and import-
ant subjects presented to
them, they select between
fifty and sixty choice film
news scoops from which to
choose. The second step is
to weed out the cream of
this selected group, whit-
tling the number down to
something between 18 and
22 subjects. Then the foot-
ages of the various subjects
have to be reduced from the
originals (which usually
range between 100 to 500
feet) and must be cut to
lengths measuring approxi-
mately 40 to 60 feet for the
final showing.

HOW I KIIP
MV CAMERA BUSV...

MOVIE-MAKING IDEAS FROM READERS

Busy Bombaian

India is a country of such
vast filmic possibilities that
I soon learned the value of
carrying a small magazine
cine camera with me when-
ever moving by car, or even
when going for a stroll. I
have even carried a Filmo
121 frequently in the sad-
dle bags when riding horse
in the mornings and found
that if the horse is trained
to keep still, the extra ele-
vation afforded by shoot-
ing from the saddle is most
valuable.

To e n c o ujr a g e year
’round shooting, apart
from holiday and travel
filming, I think it best to
visualize two or three gen-
eral films of magazine type

Do you shoof a roll o-f film,
then put your camera back
on the shelf indefinitely, or
do you keep active shooting
movies all the time?

For the best letter received
each month telling "How I
Keep My Camera Busy" the
editors will reward the con-
tributor with a roll of pan-
chromatic film.

Address letters to Editor,
HOME MOVIES, 6060 Sun-
set Blvd., Hollywood, Calif

and collect odd material for
them as it comes to hand.
For instance, I have one
film titled “Strange But
True in India” and found
I soon collected sufficient
shots for a 400-footer and
have now gone into the sec-
ond spool. Every time I
move out of Bombay, and

For Good Results — Load With

ONYX MOVIE FILM

Onyx 8 Ortho Onyx 24 Pan

100 feet 16 mm $2.00 $4.00

25 ieet 8/8 mm .90 1.35

30 ieet Univex. 50 .90

RATINGS— 8- 24 FOR DAY.
Reversal processing free oi charge.
Write for price list of other types of film
and chemicals for home processing.

KENWOOD FILMS

818 E. 47th St. CHICAGO, ILL

8MM

KODACHROME

DUPLICATING

It is now possible to have your 8mm original
color pictures duplicated in Kodachrome at
lOc per toot. Minimum order $5.00.

16mm Kodachrome duplicated in sound and
silent.

CDLBB BEPBOBUCTIDIV GB.

7936 Santa Monica Blvd.

GLadstone 1355 Hollywood, Calif.

MITTEN'S

PIN-BACK

TITLE LEHERS

Allows an ease an dspeed in titling not
possible with other methods. Once the
title is set ... it stays set. Pin Letter
Sets are priced from $5.50 up. Others
$4.75 up.

Carried by Leading Photographic
Supply Deaiers

WRITE FOR FOLDER

Mittens Display Letters

REDLANDS CALIFORNIA

Why use anything else when

TITLES BY PARK CINE

Coat no moro than ordinary tilloa.
CATALOG FREE ON REQUEST

PARK CINE LABORATORY

120 Woat 4Ist Stroot Now York City

HOME MOVIES FOR NOVEMBER

often in the island itself, I
find material for this.

I have another film called
“Indian Chutney,” com-
posed of all kinds of odd
shots which cannot be prop-
erly included in other doc-
umentaries. Then I start-
ed one on the subject,
“Hats I Have Seen,” and
filmed the various head-
gear, male and female,
which I saw in different
European cities and, later,
in India. In India the men
“out-hat” the women with
strange headwear, making
this a most promising film.
I am now wishing I had
started the picture in col-
or, but I have to continue,
alas, in black and white.

“Our Daily Bread — Con-
trasts East & West” is an-
other good subject and in-
cludes agricultural meth-
ods, etc. The contrasts are
most interesting. Then I
have a film, “We’re All the
Same — Four Legs or Two !”
showing animals and hu-
man beings. I started this
film years ago and still find
occasion to make odd shots
to add to it. I have got
much fun out of this and
never shoot much, just a
few seconds here and there
of people in curious poses
doing odd things that
match up or contrast zoo
and other animal shots
which I have in stock.

— S. Jepson,

Secy., Am. Cine Society,

Bombay, India.

etimenta

• Continued from Page 527

minish or increase light
reaching title. To make a
fade-out, the card is grad-
ually drawn before the
light until it is extin-
guished. To make a fade-
in, camera is started and
the cardboard moved slow-
ly away from front of light.
Care must be taken that
cardboard throws no sharp
shadows on title card.

— Elmer F. Schulte.

TO OUR READERS
We will appreciate calling our
attention to any misleading claim
made by any advertiser in HOME
MOVIES whose product or service
proves unsatisfactory.

1 I 1 1 [

Backgrounds

By EDMUND TURNER

PAGE 548

HOME MOVIES FOR NOVEMBER

uflumiD • flDviiiTiiiiiii;

• Are you in the marhet

. . . for a camera, projector or some other article of
used cine equipment? Seeking bargains in films,
processing or titling? Then youTl find opportunities
in these classified ads!

• Have you something to sell

... or trade — some article of cine equipment you've
outgrown or no longer use? Turn it into cash with a
Home Movies classified adl

EQUIPMENT FOR SALE

• BASS SAYS: Now more than ever save

double on good used equipment. Money-
back guarantee.

USED CAMERAS: 16mm Risdon, 50 ft. F:3.5

lens. $9.50.

16mm Keystone Bl, F:3.5 lens, $16.50.

16mm Simplex Magazine, F:3.5 lens, $18.50.
16mm Cine Kodak Model B, F:3.5 lens, $22.50.
16mm Victor Model 3, 3.5 fixed focus lens,
$42.50.

16mm Filmo 70A, F:3.5 Cooke lens, case,

$45.00.

16mm Simplex Deluxe Magazine, 1.9 lens,
$54.50.

16mm Victor 5, black finish, I" fixed focus
3.5, I" Wollensak 1.5 focusing, 3" Wollensak
Telephoto focusing, case, $137.50.

16mm Filmo 70D, black finish, I" Cooke F:l,8,
15mm Wollensak wide angle fixed focus 2.7,
3" Wollensak F:4 in focusing mount, with
case, at $195.00.

16mm Filmo 70DA, brown finish, 15mm Wol-
lensak F:2.5 wide angle fixed focus, Cooke
F:l.8 focusing, 3" Wollensak Telephofo F:4,
case, $237.50.

16mm Filmo DA, brown, with \” Cooke F:l.8,
15mm Wollensak F:2.7 fixed focus, 3" Wol-
lensak Telephoto F:4 focusing, case, $260.00.
8mm Keystone, F:3.5 lens, $18.50.

8mm Filmo Companion single 8, 3.5 lens, case,
$24.50.

8mm Cine Kodak Model 60, 1.9 lens, case,
$52.50.

8mm Filmo Aris'ocrat, Cooke 2.5 lens ana
case, $99.50.

8mm Bolex complete, l2'/2mm Kino Plasmat
F:l.5, 25mm Trioplan F:2.5, I'/z" Dallmeyer
F:3.5 and case, $267.50.

BASS has a fine, well assorted stock of Cine
Lenses in all sizes. Write for quotations
on your requirements.

'USED PROJECTORS— 16mm Bell & Howell
Model 57A, 200 watt, with case, $37.50.
16mm Bell & Howell Model 57A. 400 watt,
with case, $52.50.

16mm Keystone A-72 with 300 watt lamp,
$32.50.

16mm Ampro Model A. 400 watt, with case,
$50.50.

16mm Bell & Howell Model I29D. 1600 ft. ca-
pacity, 750 watt, with case, $175.00.

USED SOUND ON FILM PROJECTORS— 16mm
Bell & Howell Model 138, single case. 750
watt, amplifier, $165.00.

Bell & Howell Model 120D, ampifier, 750 watt
ibulb, $175.00. ^ ^

RCA Model PGI70. 750 watt lamp. 1600 ft.
capacity, $225.00.

Bausch & Lomb combination Home Balopticon
for slides and opaque pictures, $75.00.

Be sure to write Bass before you trade. Free
on request: 84-page Bass Cine Bargalngram,
an authority for silent and sound equipment.
BASS CAMERA COMPANY. Dept. HC, 179
West Madison St., Chicago, Illinois.

• Cine Filter Kits consisting of sunshade, fil-
ter holder and 4 filters— regular $2.95 special
$2.25. Optical glass filters any size up to
42mm, $1.15. Used 16mm cans— like new— 30c
each — in lots of 6. ROGER LORD, Box 44,
Rugby Station, Brooklyn, New York.

• CAMERAS. B&H 121, i" f2.7 Cooke, case.

$45; Eastman Model "A", I" fl.9, $40; Bolex,
Hektor I" fl.4, case, $290.00; Projectors, B&H
129D, 1600 ft., case, $145; Eastman "A”, 250
watt, $22.50. All I6mm sizes. Excellent con-
ditions. RALPH V. HAILE, 215 Walnut, Cin-
cinnati, Ohio.

• BIG SALE on all types of Screens— 30"x40"
Tripod (three-way), $6.50; (one-way), $10.50;
36"x48" (three-way), $11.00; 36"x48" Box type.
$10.00. Special — 36"x48" Roll-up crystal bead-
ed, $3.99. ABBE FILMS, 1265 Broadway, N. Y.

ON-TIME SPECIALS — 8mm Mag. Camera
(Perfex), $5.56. 8mm 300' Projector (Revere),
$5.15 per month. 16mm used B&H Projector,
$5.00 per month. 16mm used Victor 2000'
Projectors, $5.25 per month. 1001 other bar-
gains. New, used. Write for catalog. MO-
GULL'S, 55 West 48th St., New York City.

• NEW REVERE 8. Bolex 8 and 16mm outfits,
lenses, screens, enlargers, other photo goods.
Reasonable! GLENN MISHLER, Warren, Ohio.

• EXAKTA VEST POCKET Model with f 2.8

Zeiss Tessar, speeds up to one thousandth, de-
layed action, sunshade and filter holder, car-
rying case, Exakta flash equipment. Original
cost $175. A-i Condition. First check for $100
takes it. Box 17, care HOME MOVIES MAG-
AZINE^

• VlClOR 5 like new — manufacturer's guaran-
tee. Turret head, wind back and many other
excellent features. Wiihout lens. Will sell
for highest offer. ROBERT C. HARNSBERGER,
Luray, Virginia.

• Bel! & Howell Companion Eight. B. H.
f 3.5 lens. Gfosvenor leather case, Koda-
chrome filter. Cost $64.50. Money-back guar-
antee. Excellent condition. $40.00. A. W.
SEYFRIED, 3009 N. Main St.

EQUIPMENT FOR SALE

9 PAWNBROKERS since 1858. Specializing lib-
eral loans on cameras anywhere In United
States. Free Information and appraisal. H.
STERN, 872 Sixth Ave., New York.

• MAKE your own Action Editor. Easy to
construct. No shutter or moving parts — Film
appears as moving pictures. Send $1.00 today
for plans and instructions. BUCKLEY BROS.,
1188 Broadview Ave., Columbus, Ohio,
o 750 WATT PROJECTOR manufactured by
Standard. Has rewind, new flickerless shutter,
variable speeds, tilting base. $50 on 10-day
money-back guarantee. Box II, care HOME

MOVIE MAGAZINE.

o BELL & HOWELL 8mm Sportster Camera.
New; received as gift. Need cash. Price $50.
GILBERT POLSKY, 1309 Eleventh Ave., Al-
toona, Penna.

PROCESSING SERVICE

• MOTION picture processing. 100' 16mm,
75c; 50' 16mm, 50c; 25' 8/8mm, 35c; 25'
8mm, 25c. RITTER FILM SERVICE, 629 Lyman
Ave., Oak Park, 111.

FILM RELEASES

• 8MM FILMS! Castle releases. 50 ft., 180
ft. New prints. Good used prints. Sales.
Exchanges. Trade-ins. RIEDEL FILMS, Dept.
HM-II41, 2221 W. 67th St., Cleveland, Ohio.

• EXCHANGE your old 8mm for brand new
comedies, cartoons, full subjects. Reasonable.
Mail us your list. ABBE FILMS, 1265 Broadway,
New York.

• SOUND and Silent Films exchanged, bought,
sold, rented. Bargains always. New Free lists.
FRANK LANE, 5 Little Bldg., Boston, Mass.

• 8-16mm FILMS — Free catalog (with sample
film, lOc). PARKWAY EXCHANGE, 961 East
Parkway, Brooklyn, N. Y.

• CHILD HEALTH, training and character

building films, silent and sound, for grade
school, high school and adults. Write:
HEALTH FILM SERVICE, Producers, Salem,
Oregon.

• OUTSTANDING Comedies, Mellerdramas,
Thrillers. Chaplin, Lloyd, Pickford. Lowest
prices. Illustrated catalogs, samples, dime.
Mention width, sound or silent. MEGIFILMS,
340-Y West 29th St., New York.

FILM RELEASES

9 ADULT FILMS, 8-l6mm (not arts). Over
100 subjects! Lists, lens cloth, lOc. No post
cards answered. JENKINS, 392, Elmira, N. Y.
• 8-l6mm. Films — silent, sound. Bought, sold,
exchanged. Films rented everywhere. Free
catalogue (with sample film, lOc). GARDEN

FILM, 317 West 50th St,, N. Y. C.

o HOLLYWOOD productions galore! Hun-
dreds to choose from! Bulk film. Bargain lists
yours for the asking. ERWINE'S CINE LAB-
ORATORIES, Allentown, Pa.

MOVIE FILM

• BULK FILM— REPEAT SPEC! AL— First 50
customers purchasing 400 ft. of either of the
following film, will receive ABSOLUTELY
FREE 100 ft. of same. Positive film plain,,
lavender, yellow, amber, 400 ft., $4.85. W-24-
16, 400 ft., $12.65. W-64-40, 400 ft., $13.65.
R. B. CAMERA & PHOTO SUPPLY CO., 3357
E. 66th St., Cleveland, O.

• CAMERA FILMS — Non-halation, fine-grain,
100 feet 16mm, $1.95; double 8mm, 95c;
screens, cases, library subjects, 50% discounts.
Other bargains. WALT NO-WAT-KA, 255
Main Ave., Passaic, N. J.

• 8MM FILM, Including processing, daylight

loading, non-halation, 25 H. 8/8mm., Weston
12, 85c; Weston 24-16, $1.25; Weston, 64-40,
$1.50. RITTER FILM SERVICE, 629 Lyman
Ave., Oak Park, III.

• BULK 8mm l6mm Films, Cameras, Projec-
tors, Accessories. Castle, Official, Nu-Art.
Exclusive film library. AIRLINE PHOTO SUP-
PLY. Box 1739, Cleveland, Ohio.

TITLING

• TITLES — Make your own. Use negative or
positive film. High quality, low cost. Sam-
ples. LEONE, 355 E. 187th St., N. Y. C.

• TITLING LETTERS that give you profession-
al results. Pin letter and sanded back letters.
Complete sets available $4.75 up. Write for
descriptive literature. Ask about Santa Claus,
Turkey and other title illustros. Big variety of
large size and varied style letters can be
purchased by the letter to fill all titling
needs. MIHENS LETTER CO., Redlands, Calif.

• TITLING and Close-up Lens Kit — Six sup-
plementary lenses of 16", 18", 20", 24", 32"
and 40" focal lengths. Can be used on all
titlers which provide for interchange of lenses.
Also ideal for general close-up photography.
Complete kit, $3.00. Separate tenses, 60c
each. Also available in 6", 8" and 12" focal
lengths for ultra-closeup work. HOLLYWOOD
CINE PRODUCTS CO., 3221 So. Figueroa St..
Los Angeles, Calif.

WANTED

• EYEMO Camera Wanted. Will pay cash.
Give full particulars regarding condiiion, lens,
etc., first letter. Address BOX 155, Deerfield,
Illinois.

• WANTED — 15mm FI. 5 Cooke or Dallmeyer
with or wiihout focusing, mount. Also view
finder for same. Richard Dirkse, R. No. 5,
Holland, Mich.

MISCELLANEOUS

• BACK ISSUES — Home Movies Magazine for
all months of year 1941, 25c copy postpaid.
If you missed an important article or if you
staried your subscription since February 1st,
here is your opportunity to secure important
copies for your files. HOME MOVIES, 6060
Sunset Blvd., Hollywood, Calif.

HOBBY BOOKS

• Are you a "beginner” In the ranks of ama-
teur movie makers? Would you like to know
how to use your camera to the very best ad-
vantage, yet avoid the mistakes and wasted
film that so often results from lack of knowl-
edge of fundamentals of cine camera opera-
tion? Then order a copy of "How to Use a
Movie Camera." Just 50c, and well worth it.

Would you like to learn how to process your
own movie film so that you can buy inexpen-
sive film in bulk? Let us send you "How to
Process Home Movie Film," a book chock
full of instructions and advice by experts plus
complete, easy-to-understand plans for build-
ing your own simple processing equipment.
Sent postpaid for 50c.

Would you like to learn how to make your
own titles — what equipment to use — what ex-
posure to use — all about auxiliary lenses — title
building a very simple and versatile home
movie tltler? Then send for "How to Title
Home Movies" — the latest and one of the
most authentic books ever written on the sub-
ject. Price $1.00 per copy. We pay tKe postage.

VER HALEN PUBLICATIONS
6060 Sunset Blvd. • Hollywood, Calif.

STATEMENT OF OWNERSHIP, MANAGEMENT. CIRCUL.ATION, ETC.,
REQUIRED BY THE ACTS OF CONGRESS OF
AUGUST 24, 1912 AND MARCH 3. 19:^3

Of Home Movies, published monthly at Los Angeles, California, for October 1st. 1941.
STATE OF CALIFORNIA, (

COUNTY OF LOS ANGELES, j

Before me. a Notary Public in and for the State and county aforesaid, personally ap-
peared C. J. Ver Halen. Jr. who, having been duly sworn according to law, deposes and
says that he is the Publisher of the Home Movies and that the following is, to the best
of his knowledge and belief, a true statement of the ownership, management (and if a
daily paper, the circulation), etc., of the aforesaid publication for the date shown in the
above caption, required by the Act of August 21. 1912. as amended by the .\ct of March 3,
1933, embodied in section 537, Postal Laws and Regulations, printed on the reverse of this
form, to wit :

1. That the names and addresses of the publisher, editor, managing editor, and
business managers are:

Publisher, CHARLES J. VER HALEN and C. J. VER HALEN. JR.. LOS ANGELES, CALIF.

Editor. ARTHUR E. GAVIN. HUNTINGTON PARK. CALIF.

Managing Ed itor

Business Managers

2. That the owner is: (If owned by a corporation, its name and address must be stated
and also immediately thereunder the names and addresses of stockholders owning or holding
one pei cent or more of total amount of stock. If not owned by a corporation, the names
and addresses of the individual owners must be given. If owned by a firm, comyiany, or
other unincorporated concern, its name ami address, as well as those of each individual
member must be given.)

PARTNERSHIP

CHARLES J. VER HALEN. 9014 LARKE ELLEN CIRCLE, LOS ANGELES

C. J. VER HALEN, JR., 9024 LARKE ELLEN CIRCLE, LOS ANGELES

3. That the known bondholders, mortgagees, and other security holders owning or holding

1 per cent or more of total amount of bonds, mortgages, or other securities: (If there

are none, so state.) NONE.

4. That the two paragraphs next above, giving the names of the owners, stockholders, and
security holders, if any, contain not only the list of stockholders and security holders
as they appear upon the books of the company but also, in cases where the stockholder or
security holder appears upon the books of the company as trustee or in any other
fiduciary relation, the name of the person or corporation for whom such trustee is acting,
is given: also that the said two paragraphs contain statements embracing affiant’s full
knowledge and belief as to the circumstances and conditions under which stockholders and
security holders who do not appear upon the books of the company as trustee, hold stock
and securities in a capacity other than that of a bona fide owner; and this affiant has no
reason to believe that any other person, association, or corporation has any interest direct
or indirect in the said stock, bonds, or other securities than as so stated by him.

5. That the average number of copies of each issue of this publication sold or dis-
tributed, through the mails or otherwise, to paid subscribers during the twelve months

preceding the dafT shown above is This information is

required from daily newspapers only.)

C. J. VER HALEN, JR.

(Signature of editor, publisher, business manager, or owner.)
Sworn to and subscribed before me this 8 day of Oct., 1941.

(SEAL) S. E. GRILL

(My commission expires Oct. 13, 1941.)

. . . for you
and your
brother
Cinefilmers !

Give a gift that cheers
every month of
the year—

A SUBSCRIPTION TO

HOME MOVIES

12 MONTHS FOR $2.00
3 YEARS FOR $5.00

(U. S'. A. Only)

CANADIAN SUBSCRIPTION — $3.00 PER YEAR

Convenient Vorm on Opposite Pci gel

Price 25c

YEARLY SUBSCRIPTION. $2.00

NOVEMBER - 1941

LARGEST CIRCULATION OF ANY AMATEUR MOVIE MAGAZINE

■' % ,

IS IMPORTANT

hut, in panchromatic movie film, there are many characteristics
besides speed which are essential to good screen results. Such
as these basic qualities of Cine-Kodak Film —

GRAIN Scientific manufacturing and proc-
essing of Cine-Kodak Super-X and Super-XX
"Pan" Film result in minimum film grain con-
sistent with high speed — and maximum screen
magnification of clear, clean-cut images.

PANCHROMATISM The wide-band panchro-
matic sensitivity of Cine-Kodak Film produces
the most natural black-and-white rendering of
color — and truest response to filter use.

BRILLIANCE Contrast, latitude, resolving
power — these are the qualities in Cine-Kodak
Film that enable a good projector to produce
the proper snap and sparkle on the screen.

CORRECTION The exclusive automatic cor-
rective processing given to Cine-Kodak Pan-
chromatic Films in Eastman laboratories com-
pensates for all normal exposure errors,
assures you uniformly satisfactory results
throughout the widest range of light conditions.

VALUE The uniform reliability and superior
qualities of Cine-Kodak Films, in terms of
movies made and saved, are factors beyond

price. With processing included in the original
attractive prices, Cine-Kodak Super-X and
Super-XX Films make for true picture economy.

AND SPEED, OF COURSE All possible speed
with the least possible grain — this you can
always expect in Cine-Kodak Super-X and
Super-XX "Pan."

EASTMAN KODAK COMPANY, ROCHESTER, N

Film: 8 -mm. rolls
50-foot 16-
rolls— $6.40, 16-

“Pan”: 50-foot 16-mm. rolls — $4.00, 100-foot
rolls — $7.20, 16-mm. magazines — $4.30. All
prices include processing.

°fCl7/S4.;

“MICKEY PLAYS SANYA CLAUS”

Featuring MICKEY MOUSE

Mickey and Pluto as street musicians celebrate Christmas eve singing
and playing Christmas carols. Called to a home to entertain a
spoiled little rich boy, they're mistreated and eventually throvrn out
into the snow. They encounter a poor widow with many needy chil-
dren and all are made happy when Mickey, playing Santa, brings
toys and food to the poor family. Order by number — I40I-B.

200 foot 16 mm. ... .... $6.00

100 foot 8 mm $3.00

"“tkeM mOK'i mU make

a memef ChnMmajf"

ANIMATED CARTOONS FOR
CHRISTMAS SHOWING

CHRISTMAS CHEER, with Meany, Miny and Moe 1205-A

ADVENTURES IN DREAMLAND, with Oswald Rabbit 12-A

FAIRYLAND EXPRESS, with Oswald Rabbit Il-A

MICKEY'S ORPHAN CHILD, with Mickey Mouse and Pluto . . I50I-A
MICKEY THE NURSEMAID, with Mickey Mouse and Pluto . . . I 506-A

Each of these films will provide timely entertainment for
holiday groups of all ages.

100 foot 16 mm. $3.00

50 foot 8 mm. $1.50

o\aN®' ■
\b

riOLLYWDDD FILM EYTERPHISES, me

S060 SUNSET BOULEVARD

HOLLYWOOD, CALIF.

advisory EDITORS

Ijr. a. k. baumsardner

Peoria Cinema Club

eter BEZEK •

j Chicago Cinema Club \

JAMES BIALSON

Amateur Ivtotion Picture Club of St. Louis

r. MOSS BROWN

Dallas Cinema Club

ALTER BRACKEN

The 8-16 Movie Club, Philadelphia, Pa.

CLAUDE W. A. CADAREHE

Los Angeles 8mm Club

|w. EMERSON CLYMA

I Detroit Society of Cinematographers

BUSSELL A. DIXON

Pittsburgh Amateur Cinema Club

CYRIL DVORAK .

Suburban Amateur Movie Club

RTHUR E. GIBBS

Portland Cine Club

iRAY A. HOOK

Seattle 8mm Club ‘

ALFRED F. KAUFMAN

Indianapolis Amateur Movie Club

iJ. E. NESTELL

Cinemen Club

NARCISSE.A. PELLETIER

Toronto Amateur Movie Club

GILBERT B. PETERSON

‘ Metropolitan Cine Club

ROME RIEBETH

Minneapolis Cine Club

A. THEO. ROTH

Sherman Clay Movie Club

C. O. ROUNTREE

Bay Empire 8mm Movie Club

J. PAUL SNYDER “

Norfolk Amateur Movie Club

REED E. SNYDER

Des Moines Y.M.C.A. Movie Club

M. F. SISSEL

Austin Movie Club

DR. C. ENION SMITH

Metro Movie Club of Chicago

EMtrtd as Second-Class Matter, May 6, 1938, at
the Postoffice at Los Angeles, Calif., under the
Act of March 3, 1879.

Subscription rates: U. S. $2.00 per year. Canada
and Foreign Countries, $3.00 per year. Single
I copies 2Sc. Canadian and Foreign single copies
• 35c. Copyright, 1940, by Ver Halen Publications.
Advertising rates on application.

DEC 11

, . /?ome

MOVIES

Reg. V. S. Pat. on.

Member Audit Bureau of Circulations

CONTENTS FOR DECEMBER, 1941
it's new to me . Sol

WITH THE REEL FELLOWS .562

let’s PL.4N OUR CHRISTMAS FILMING FARLY — By Jack Irwin.. 565

HOW TO MAKE SUCCESSFUL WINTER MOVIES — By Curtis Randall 566

TWO SCENARIOS FOR CHRISTMAS FILMING — By Warren Garin 568

FULL PAGE TITLE BACKGROUND — By Harold M. Lambert 569

BACKGROUNDS IN MOTION FOR TITLES — By George W. Cushinan 570

CASHED IN ON MOVIE HOBBY RIGHT FROVI THE START —

By Arthur Rowan 571

A NEW ANGLE ON FILMING INTERIORS — By Russell Dickson 572

MOVIE OF THE MONTH — By J. H. Sclioen 573

PUT SOME GLAMOUR INTO THOSE CLOSEUPS —

By William J. Bornmann 574

WHY NOT SEND US YOUR FILM FOR REVIEW?— fiv Thc Editors 575

HOW TO SPEND YOUR CHRISTMAS BONUS 576

EXPERIMENTAL CINE WORKSHOP 580

INFORM.ATION PLEASE 589

TITLE TROUBLES — By George W. Guslunan 591

THE RE.ADER SPEAKS 595

WITH ADVANCED CINEFILMERS 600

DIRECTORY OF AMATEUR CINE CLUBS 602

TITLE BACKGROUNDS — Bv Edmund Turner 601

ANNUAL INDEX 606

COVER — “R.K.O. starlet Joan Carroll shows Santa the
way to her stocking.” Photo courtesy RKO-R.4DIO Pictures.

CHAS. J. Ver HALEN

PUBLISHER

C. J. Ver HALEN, JR.
ASSOCIATE PUBLISHER

ARTHUR E. GAVIN
EDITOR

OFFICE OF PUBLICATION
6060 Sunset Boulevard, Los Angeles, Calif.
Phone GRanite 5149

NEV/ YORK OFFICE
Everett Gellert, 62 West 45th Street
Vanderbilt 6-5254

• That man's here again! His gift to you
is two fine Xmas scenarios on page 568.

DECEMBER

NUMBER 12
VOLUME VIII

REEL FELLOWS

A friendly fraternity of
movie amateurs sponsored
by Home Movies maga-
zine. Your membership is
invited.

GEORGE W. CUSHMAN

J. H. SCHOEN
Associate Editors

C. E. BELL
Photographic Editor

HOLLYWOOD’S MAGAZINE FOR THE AMATEUR

PAGE 554

HOME MOVIES FOR DECEMBER

Y&m ctufL ‘Mourns,

Here's a new thrill for your next party! Show your own
16 mm. talking movies of Hollywood's greatest stars
in their biggest hits. Show a single feature, or make
up a complete program to suit your own taste, with
thrilling stories like "BLOCKADE"; scintillating musi-
cals like "GAY DESPERADO"; roaring comedies like
"FLYING DEUCES."

HERE IS A PARTIAL LIST OF FEATURES YOU CAN SHOW:

FLYING DEUCES

Laurel and Hardy

BLOCKADE

Madeleine Carroll, Henry Fonda

ALGIERS

Charles Boyer, Jean Arthur

YOU ONLY LIVE ONCE

Henry Fonda, Sylvia Sidney

HISTORY IS MADE AT NIGHT

Jean Arthur, Charles Boyer

GAY DESPERADO

Nino Martini, Ida Lupino

STAND IN

Leslie Howard, Joan Blondell

52ND STREET

Ian Hunter, Pat Patterson

I MET MY LOVE AGAIN

Joan Bennett, Henry Fonda

RAIN

Joan Crawford, Walter Huston

For the children, too, there's a long list of wholesome
entertainment for home or school showings. Here are
all the characters they love — Felix the Cat, Molly Moo,
Toonerville Trolley Folks, and beautiful fun cartoons
. . . ALL IN NATURAL COLOR.

YOU CAN RENT THESE FILMS at a SURPRISINGLY LOW COST

Visit our rental department or send for free illustrated
catalog of entertainment and educational films. Cus-
tomers living within a radius of 300 miles of New York
City can be served from our library.

World^s Largest Camera Store
Built on Square Dealing

32nd Street near 6th Avenue

New Yark

S II L II to me

By CiNEBUG Shopper

A-To-Z Color Title Kit

Amateurs desiring to make
their own color titles on back-
grounds will be interested in the new “A-to-Z” Color Out-
fit for Kodachrome and black and white, designed especi-
ally for lead and opening
titles.

The complete title is traced
on a clear acetate film in
color, black, or white. The
method is simple. No skill is
required. For tracing artis-
tic letters equal to profes-
sional standards, an Alpha-
bet and Figure Pattern
Book is furnished.

The kit contains 12 beauti-
ful backgrounds on which the clear acetate film is laid.
For Kodachrome titles, colored magazine illustrations can
be used as backgrounds.

The six assorted colors which are furnished allow a wide
choice of color combinations. The color is not brittle, does
not run, has a good body. The acetate is washable and can
be used again and again.

This complete “color title outfit” sells for $6.50. For
those amateurs who have the “A-to-Z” Title Maker,
“A-to-Z” Figurettes in color, and Title Frame, a Title-on-
Background Kit is available for $3.00.

For complete information, write to “A-to-Z” Movie Ac-
cessories Co., 175 Fifth Avenue, New York City.

New Castle Films

Two new Castle films announced for
this month are “Merry Christmas”
and “Football Thrills” — both available in 8 mm. and
16 mm. sound.

“Merry Christmas” picks up the thread of Christmas-
in-the-making months ahead of the day itself, catching all
the lift, suspense and expectancy that mounts the nearer
the day approaches. Many activities of the get-ready
months are depicted . . . woodsmen gathering snow-tufted
trees and shipping them to homes the land around . . .
farmers fattening thousands of turkeys. At the North
Pole, Santa’s workshop buzzes with the labor of his
gnome-like helpers while he tallies up his huge ledger
where the names of good and of bad children are recorded.
Craftsmen in other shops are shown fashioning new toy
delights. Stores begin to blossom with wondrous displays,
and fantastic parades with their huge, floating figures,
pass along the crowded streets. Shoppers rush in last-
minute frenzies . . . lights begin to illuminate trees, wreaths
decorate every window ... a typical family prepares and
carols fill the air . . . while, far away, Santa is seen enter-
ing his sleigh for the world-circling journey ahead. And,
as children sleep, he is seen climbing down the chimney of
the very house shown earlier, to distribute in stocking and
on tree the gifts of which the youngsters are dreaming.

“Football Thrills” is always in wide demand around the
holidays. Appearing soon after the Army-Navy contest
the last of November, this regular release has filled many
a gap in the gift lists that family and friends make up for
the undergraduate, the collegiate athlete, the fraternity
brother, the coach or the old school gym.

Re-running only the stellar plays of the season’s out-
standing games, the 1941 Castle home movie is high-
spotted by the much-mooted trick play of the Minnesota
game, although the “trick” itself was as lost to the camera
as it was to spectators and even the sports writers. But
the running part of the play, with the dash down the side-
lines to a touchdown while bewildered opponents collect

Here's the Gift...

him with a

CHALLENGER SCREEN

THE CHALLENGER America’ s Most Popular Portable Screen

combines utmost convenience and brilliant performance. Because of its simplified design
and lightweight "all-in-one" construction, it is easier to carry and to use. The Challen-
ger's patented construction with square tubing in both the center rod of tripod and the
extension support gives unequaled rigidity and strength. This is why you can enjoy the
convenience of the Challenger mounting for screen sizes as large as 52"x72". The exten-
sion support is made of solid square steel; so there is no danger of its bending or twisting
the fabric out of focus even when the screen is raised to its highest position. The Chal-
lenger actually costs less than your second-choice screen. The 30"x40" size is only
$12.50.*

DA-LITE
Model B
SCREEN

is the most popular
hanging screen in
the Da-Lite line. The
Da-Lite Glass- Bead-
ed fabric is spring-
roller-mounted in a
metal case, which
protects it from dust
when not in use. 1 2
sizes from 22"x30"
to 63" X 84" from
$6.50* up.

The Challenger can be set
up anywhere in 1 5 sec-
onds. It is the only screen
that can be raised to de-
sired height merely by re-
leasing a spring latch and
raising the extension sup-
port.

The whole family will enjoy the more hrilliant
movies and stills, which are possible with this
finer screen. Color film, because it is more dense
than black-and-white film, especially needs the
superior light reflective qualities of the Da-Lite
Glass-Beaded surface. Tests show that it reflects
more light without sparkle or glare for all prac-
tical viewing angles than any other screen sur-
face. To get the best for less, look for the name
Da-Lite when you buy! See the Challenger and
other Da-Lite Models at your dealer’s! Write for
literature, Da-Lite Screen Co., Inc., Dept. 12 HM,
2711 North Crawford Ave., Chicago, 111.

DA-LITE

Versatol

leads in the low price
field. The 30" by 40"
size can be used as
( 1 ) a tripod screen,
(2) a hanging wall
screen, or (3) as a
table model. Price,
$7.50.* The 40" by
40" size can be used
in two ways — as a
tripod screen and as
a hanging screen.
Price, $1 0.00.*

'Pricrs slightly higher
on Pacific Coast.

A GUARANTEE

That Ifiettns Somethinti

The beads on a Da-Lite Glass-Beaded
Screen are guaranteed not to shatter off.
The entire screen, including fabric and
mounting, is guaranteed to be free from
defects in materials and workmanship. The
fabric is specially processed to stay white
and pliable. Because dust and dirt accu-
mulate on any screen over a period of
years and destroy its original brilliance,
Da-Lite does not guarantee permanent
whiteness, for to do so would be meaning-
less. The reliability of Da-Lite Screens has
been proved by thousands of users over a
period of 32 years.

DA-LITE Replacement Fabrics

If your screen surface has be-
come soiled or damaged, ask
your dealer about Da-Lite re-
placement fabrics. For Da-
Lite screens there is no addi-
tional labor charge for mount-
ing. Make your screen new
again with a Da-Lite Glass-
Beaded Replacement Fabric.

Available for all standard
sizes of screen surfaces.

PAGE S56

HOME MOVIES FOR DECEMBER

3 Instant- Automatic
Operations . . . and it's up!

1. Touch a convenient lever — the
tripod legs slide into position and
lock there automatically.

2. Merely turn the screen case — auto-
matically it locks into steady hori-
zontal position.

3. An effortless pull raises screen and
automatically locks into viewing
position — at ANY height, 17 to 50
inches from the floor.

with remarkable new

AUTOMATIC

A The new Kadiant Automatic is by far the most
convenient of all itortable screens. But it’s more
than that. In sharp definition, natural, lifelike re-
production, permanent, guaranteed whiteness. Ra-
diant’s “Hy-Flect” surface is simply unequalled.
Here is a gift that will realty please — for a lifetime.
Radiant tripod screens — all with “Hy-Flect,” glass-
headed surface — from f8.95 up. Insist on Radiant
at your dealer’s or write for new illustrated folder.
FREE ! _

MANUFACTURING CO

1140-6 W. Superior St., Chicago, III

themselves and plunge madly in pursuit is shown in full.

Subject to change, the greatest passes, kicks and plays
that made the following the season’s gridiron classics are
included in this Castle sport feature :

Harvard-Yale; Duke-No. Carolina; Cornell-Dartmouth ;
Army-Navy; Fordham-So. Methodist; Minnesota-North-
western ; Columbia-Princeton ; Pennsylvania-Army ; Mich-
igan State-Santa Clara ; St. Mary’s-Duquesne.

Both films are being supplied dealers by Castle Films,
Rockefeller Center Bldg., New York.

Plastic RbbI New on the market and destined for popu-
lar reception is the new projector reel of
molded transparent plastic for 8 mm. film. Available in

two sizes — 200 foot and 300

foot capacity — it has several
marked advantages over
metal reels. It is of single
piece construction ; its light-
ness eliminates drag on mo-
tor ; three slots are provided
in hub for holding film end ;
and there is a distinctly
etched footage scale on one
of the spokes.

This new reel is packed
individually in boxes and is
rapidly being made avail-
able to dealers by the manu-
facturer, American Molded
Products Corp., 1753 No.
Honore St., Chicago, 111.

Newsthrills of 1941

Official Films’ 1941 edition of
their Newsthrills film is now
available in one reel 8mm., and one reel 16mm. in both
sound and silent. It represents a living, drama-packed,
historical recording for present day and future genera-
tions of Americans. The world-startling meeting between
Britain’s Prime Minister Winston Churchill and Presi-
dent Franklin D. Roosevelt, the sinking of Nazi merchant
ships by the British Navy, the signing of the pact between
Soviet Russia and the British Empire to fight and wipe
from the globe. Hitler and his axis partners ; actual scenes
from the Russo-German death struggle and many other
events moving in swift succession across your home movie
screen ; documentary evidence of a chaotic world.

This film in conjunction with Official Films’ Volume 1
in which are recorded the highlights of world events oc-
curring during the first half of the ill-fated year of 1941,
makes the most complete Newsreel on the home movie
rn3.i*k0t

Official Films, Inc., 330 West 42nd St., New York City,
are the producers.

Economy 16mm. Films

Two new economy 16 mm.
films are announced by Foto-
shop, Inc., New York City. Fine Grain Pan, which is
priced at $3.25 the 100-foot roll, is said to possess a long-
tone range and is described as an extraordinary fine grain
film for taking outdoor movies where the advantages of a
moderate speed film can be used. It is claimed that movies
taken with Fine Grain Pan will be clear and sharp and
have professional “theatre quality.” Suggested Weston
rating for this film is 12 degrees daylight and 8 degrees
tungsten, although wide latitude of film assures protec-
tion against exposure errors.

Fotoshop’s second new offering. Universal Ortho, is
specified as affording all the qualities, fine grain, speed
and brilliant contrast, that particular cinematographers
demand. It is a high speed film aptly suited for general
outdoor use. Amply sensitive to colors most prevalent in
landscapes, the manufacturer suggests Universal Ortho as

HOME MOVIES FOR DECEMBER

PAGE 557

■ ■ ■’

CORHt'-'-- •

• ■ ■

ptNNSUW*"''

m\cww>'

these

Vines

H0W«

• ■ ■ ■ ’ pWHCt^O^

Own the Great Moments
of this Year's Top Games!

Flashing runs... smashing tackles! Thrills! Spills! Touch-
downs! Action-crammed moments from the year’s great-
est games! Here’s breathless suspense . . . superb drama . . .
the throat-gripping recklessness that makes football history!
Yours to own ... to treasure through the years to come . . . for
less than the cost of unexposed him! If you like action— drama
—excitement- buy this picture!

All Castle 16 mm. films are processed by VAP-O-RATE. All 8 mm. Castle films also are treated.

DON’T LET A DAY GO BY! SEND THIS COUPON
TO YOUR PHOTO DEALER NOW!

S„bjei:‘

Please send Castle Films’
"FOOTBALL THRILLS of 1941 " in
the size and edition checked.

CASTIE films

Name-

Address-

City-

Russ Building
San Francisco

State.

8 mm.

Headline TT C

50 Feet 1 •/ 0

Complete fr
180 Feet J.OU

16 mm.

Headline 7C

100 Feet 0

Complete $Q "7 C
360 Feet O./ D

Sound $1 T' Cf\
350 Feet 1 / . OL/

PAGE 558

HOME MOVIES FOR DECEMBER

IT’S

CHRISTMAS GIFT

IT’S

RAVEN SCREEN TIM

IT’S MORE MOVIE
FEEASURE . . .
mU the time!

hen you give a Raven Screen for Xmas — you know you’re giving the finest.
For Raven Screen leadership inainlained year after year and their selection
(from among all others) hy Eastman Kodak for the gorgeous Cavalcade of
Color at the World’s Fair attest to their superiority. IVo matter which Raven
Screen you choose you’re saving “Merry Xmas’’ and “Happier Movie Years”

STANDARD TRIPOD MODEL
( Dotted tines show screen’s
lowest point)

DELUXE AUTOMATIC
COLLAPSIBLE MODEL

in the best possible photographic
tradition.

There is a Raven Screen for every
purpose — and to fit every purse.
Listed here are the many Raven Fab-
rics and Raven Mountings from
which to make your selection.

RAVKN FABRICS

Haftone Witelite

Crystal Beaded White Opatpie

Polaroid Silver Silvertone

RAVEN MOUNTINGS

DeLuxe Automatic Collapsible
22" X 30" to 70" X 70"

Standard Tripod

30" X 40" to 52" X 72"

Duplex

22" X 30" to 70" X 70"

Table

18" X 24" to 36" X 48"

Gear Operated Tripod
45" X 60" to 70" X 70"

Metal Case llanging

22" X 30" to 70" X 70"

Spring Roller and Back Board
70" X 70" to 12" X 12"

Mood Roller and Batten
48" X 48" to 70" X 70"

Tbruvision

22" X 30" 10 45" X 60"

DUPLEX MODEL
(Phantom shows mast extended
for square screen )

RAVEN SCREEN

3I4-T6 EAST 35fh STREET

CORPORATION

NEW YORK CITY

Jr, mw

ideal for skiing pictures, sailing, summer landscapes, out-
door portraits and general scenery. Its suggested Weston
rating is 16 degrees outdoors and 8 degrees tungsten. It
is priced at $2.95 the 100-foot roll. Prices of both include
free processing at Fotoshop Laboratories.

p • I Ready for users now is the new Victor Model
rrujULl g High Intensity Arc Lamp Projector. De-
signed for heavy duty, it has a governed operating speed
of 24 frames per second with the projection lens two inch

high speed f 1.6 as standard
equipment. Focal lengths
IY2" to 4" are interchange-
able. Reel capacity is 100 to
2000 feet. Complete unit
consists of projector as de-
scribed, highly corrected
sound unit, Victor Unit “R”
Amplifier, two high fidelity
type speakers with impe-
dence transformer, high in-
tensity type arc lamp, 15
ampere rectifier, output 28
AC amperes to 30 DC am-
peres operating on 110-115
volts, and 4 leg, three point
tilt adjustment top projec-
tion stand. Prices and complete explanatory details ob-
tainable from the manufacturer. Victor Animatograph
Corp., Davenport, Iowa.

PiiiD Plltnr KJf John-Baylee Company is introduc-

LIIIK rilier nil ^ Color Kit for practically all

8 mm. and 16 mm. cameras, which lists at $5.95. This
filter assortment will give more brilliance and depth of
color to your Kodachrome pictures. It has Type A Filters
(dyed in the mass glass), one Polaroid for Kodachrome,
one Kodachrome Haze, and one Sunshade and Filter
Holder.

For those who wish to buy individual filters without the
kit, there is a wide range of sizes.

This company has also prepared an interesting booklet
on polarization. Interested amateurs can obtain this book-
let by sending 10c to cover cost of mailing.

For further information write to the John-Baylee Com-
pany, 32 Union Square, New York City.

Iniinnr Mnvipc With the 0PM earmarking all aluminum
^ for defense, aluminum reflectors for in-
door movies are fast disappearing from the market. To
relieve this situation J. H. Smith & Sons have manufac-
tured the new Victor Diffuser — Flectors. These units are
made of enameled white steel for No. 1 and No. 2 photo-
flood lamps. Reflector surface is white synthetic porcelain
enamel which is said to give a more even diffusion in com-
parison with aluminum. Exposure meter readings made
with these new reflectors seemingly prove them as efficient
as aluminum in center light and slightly better on edge
light. Diffuser-Flectors come in 9", 10" and 11" priced
approximately $1.50 up. For literature on Victor light-
ing equipment write J. H. Smith & Sons Corp., Griffith,
Indiana.

Trinlo R Rmni Super fast film for Double 8 mm. cameras
iiiIIIB-l] aiillll. ready with Agfa Ansco’s new “Twin

Eight” Triple S Pan Reversible movie film. The approxi-
mate speed of this film is said to be Weston Daylight 100
and Mazda 64. It is said this film can be used for both
indoor and outdoor, day or night scenes ; however, that it
is especially recommended where lighting conditions are
unfavorable. Features of this film are balanced panchro-
matic color sensitivity, fine grain, an exclusvie brown sil-

"Let's Make This A

HOME MOVIE

CHRISTMAS!

This year, more families than ever are planning
on REVERE movie equipment for Christmas.
Through the enthusiastic comments of REVERE
owners, they have learned that Revere 8 mm.
movies are inexpensive and easy to take. Because
REVERE Cameras and Projectors are precision-
made throughout, REVERE color or black-and-
white movies are brilliant and sharp, even when
projected on large 6-foot-wide screens. Ask your
dealer for REVERE 8 mm. equipment. Write for
literature. Revere Camera Co., Dept. 12 H. M.,
320 East 21st Street, Chicago, III.

Revere Model 85 Projector

In addition to the many advanced features of the
Model 80 Projector, the Revere "85" has a beam
threading light for continuous illuminotion during
operation, sensitive gear-tilting device with control
knob on base of projector, duo-shield light diffuser,
and de luxe carrying case. Complete with 500-
watt lamp, F 1 .6 lens and case, $89.50.

; 4

Revere ^'99^' Turret Camera

This model has the some basic features as the Revere
"88" Camera, plus a positive lens-aligning turret
heod which assures instant
change of lens position. It
also has an extra optical view
tinder for use with telephoto
lenses. Complete with one
Wollensok F 2.5 lens . . .
$77.50.

PAGE 560

HOME MOVIES FOR DECEMBER

W E S T 0 1

WESTON ELECTRICAL INSTRUMENT CORPORATION, 583 FRELINGHUYSEN AVE., NEWARK, N. J.

16 mm moviei. Whether in color, indoors,
telephotos, slow motions — a precision-
built Wollensak means superb results.

ROCHESTER, U.S.A.

The complete line of Wollensak Cine

Jr. II IW

ver coating to protect against halation, special inadvertent
exposure misjudgments. It comes only in standard Twin
Eight 25-foot spools.

Magnetic Title Letters

Made of plastic and equipped
with “ Alnico” magnets, Quixet
letters hold firmly to any iron or steel surface through
paint, enamel or lacquer. The letters are said to have suf-
ficient pull through paper, cloth, photos to permit the use
of backgrounds for titles. The letters are high and are
also made in 1" and IV2" sizes. They come in sets of white
letters with black panel and red letters with blue or green
panel. For descriptive booklet and further information
write Hamilton Dwight Co., 155 East 44th St., New York
City.

Cartoons for Xmas

“Christmas Cheer” is title of new
Meany, Miny & Moe animated
cartoon film released by Hollywood Film Enterprises,
featuring the three rollicking monkey stars of Walter

Lantz’s famous cartoon
features. It is available
in 16mm. in 100 foot
lengths at $3.00 and in
50 foot 8mm. lengths at
$1.50.

Also available from
this source are several
other animated cartoon
features appropriate for
Christmas movie parties :
Three Walt Disney car-
toons— “Mickey’s Orphan Child,” “Mickey Plays Santa
Claus,” and “Mickey The Nursemaid,” all available in 8
and 16mm.; and two Walter Lantz cartoon subjects —
“Adventures in Dreamland” and “Fairyland Express,”
both featuring Oswald Rabbit, also available in 8mm.
and 16mm.

Complete illustrated catalog of all 8mm. and 16mm.
movie films offered is available free by writing Hollywood
Film Enterprises, 6060 Sunset Blvd., Hollywood, Calif.

SniinH Fffprts ^ complete 24-page catalog of sound ef-
□uuiiu EiiULis records containing everything from

adding machines to zoo sounds and heretofore only avail-
able to broadcasting stations, are now to be permitted for
use by amateur cine fans.

Free copies of this catalog may be obtained by writing
to Speedy-Q Sound Effects, 67 West 44th St., New York.

Rnnklpts anH Tatalnns catalogs

UOOKieiS ann Laiainqs are available from Audio Film

Libraries of 661 Bloomfield Avenue in Bloomfield, New
Jersey. One catalog deals exclusively with educational film
and the other covers recreational subjects. These are of
interest basically to school educational departments, road-
show men and individuals doing entertainment work.

Sound-on-Film catalog is available free from the Lewis
Film Service of 216 East First Street in Wichita, Kansas.
Films in this catalog are for rental only. Subjects vary
from full Hollywood features to cartoons and novelties.

Camera and projector manufacturer Victor- Animato-
graph of Davenport, Iowa, have compiled the Eighth edi-
tion of their Directory of 16 mm. Film Sources. There are
over 600 sources listed and 225 subjects covered in silent
and sound film. Price of this Directory is 50c.

Radiant Manufacturing Corporation of 1140 Superior
Street, Chicago, have issued a new folder, entitled “For
More Brilliant Projection.” It is free and contains full
description on sizes and types of screens that fit all home,
business and school needs.

“Kodachrome — A data book on Photography in Color,”

• Continued on Page 593

HOME MOVIES FOR DECEMBER

PAGE 561

NEWSTHRILLS of 1941

VOL. 1

See, with your own eyes, all the highlights of
the first six months ! Sinking of the Bismarck
. . . Army Takes Over Glendale Plane Faaory
, . . Willkie Visits London . . . Madame Lu-
pescu and King Carol Visit America . . . Cap-
ture of Tobruk . . , President Roosevelt
Declares Unlimited National Emergency.

VOL. 2

All the most dramatic events of the second
half of 1941 ! Churchill Meets Roosevelt . . .
Russia and Britain Sign Pact To Fight Hitler
. . . Actual Russo-German War Scenes . . .
Uncle Sam Tests World’s Biggest Bomber . . .
Great Fire At Fall River . . . British Sink Nazi
Freighter, etc. Splice these two reels together
and yot^ll have one of the most stirring and
complete Newsreels available in Home Movies!

Send for FREE 1941-2 Illustrated
Catalogue of over fifty films.

^HE MOST DRAMATIC
YEAR IN THE WORLD’S
HISTORY- 1941!

FULLY COVERED BY OFFICIAL FILMS
FOR YOUR HOME PROJECTORI

8 mm.

16 mm.

- 2 WONDERFUL

ZOO’S WHO'

SPORTHRILLS of 1941

See every important sporting event! Yankees
Win the World Series . . . America’s Fleetest
Track Stars in breathtaking contests . . . Whirl-
away in his amazing Preakness win . . . Cham-
pionship Tennis Matches at Forest Hills . . .
Historic Golf Matches of the Year . . . the fast
Indianapolis Auto Races, etc.

Grown-ups will get
as much fun out of
this as the children.
See jitterbug monks
stunt like humans
. . . Elephants Bal-
ancing on Barrels,
Trained Penguins
. . . Bears, Tigers,
nature in the raw!

Prices Of These Films Are Less

8 M M.

SHORT — app. 50 ft $1.75

FEATURE— app. 180ft . . . $5.50

TOUCHDOWN THRILLS OF 1941

This reel is your seat on the 50 yard line to /
the leading College and Professional games !
of 1941. Official Films has selected all the
outstanding games— the cream of the crop! ^

Than The Cost of Raw Film!

16 MM.

SHORT — app. 100 ft $2.75

FEATURE— app. 360 ft . . . $8.75
SOUND -app. 350 ft. . . . $17.50

Lions, Giraffes .

CHARLIE

CHAPLIN

"HITS OF
THE PAST"

Still the world's
funniest comedian !

Still the favorite of
young and old !

Some of the most
comical scenes he
made, brought to life in this hilarious film.

^ Price of "Zoo’s Who" "Hits of the

Past" the same as listed ex-
cept for the 16 mm. fea-
tures which are S9.75.

I-

Official Films

330 WEST 42nd STREET, NEW YORK, N. Y.

/ G

PAGE 562

HOME MOVIES FOR DECEMBER

No more off-center titles!

iVo heads cut off in pictures!
ACCURATE CENTERING ASSURED

With tlio Johnston Parallax Corrector

No matter what make or model camera you have, the Johnston
PARALLAX CORRECTOR will enable you to center any shot per-
fectly, at any distance. This new device can be easily and quickly
adjusted for any camera and enables you to place the camera
finder in the EXACT POSITION of the taking lens whenever you
wish to do so. Ideal for title making and for all closeup work.
For use with tripod only. Beautifully finished in chrome, with
plastic handle.

Complete $12.50

JOHI\STO]\ MANUFACTURING CO.

2825 East Hennepin Ave. Minneapolis, Minn.

What Your Finder Sees —

Your Lens Takes!

a — ^J^oUt^wood

—^or y\f

mciS

TiTLETTER SET

The Hollywood Title+rer Set consists of 120 characters, two 4"x5" permanent backgrounds,
one black and one blue; two color landscapes, six assorted novelty backgrounds, a clear
sheet of celluloid for superimposed titles, bottle of special adhesive and tweezers.

Titletter Set in White or Red $.^95
TITLEER COLOR KIT For Photographing Kodachrome Titles

Consists of twenty-five beautifully colored landscapes, marine, snow and flower scenes —
all reproductions of famous paintings. Twenty-five novelty backgrounds, sheet of clear
celluloid for superimposed titles and a sheet of colored translucent material for silhouette
Kodachrome titles. Here at last is an assortment of accessories j r

ideal for filming color titles

Direct, or from your camera dealer

HOLLYWOOD CINE PRODUCTS

3221 SOUTH FIGUEROA STREET LOS ANGELES, CALIF.

Wd /L R [ [ I

FRIENDLY FRATERNITY

FELLOWS

OF MOVIE AMATEURS

Makes It Pay

We are in receipt of a let-
ter from Reel Fellow Wil-
liam McPeak, of Manoa,
Pennsylvania, in which he
tells of his activities with
cine camera and projector
which have netted him a
nice income. Part of his
letter follows :

“Along with taking mov-
ies, I am also interested in
boating, particularly motor
boats. During the last few
years I have tried to com-
bine the two. A gentleman
I have known for a number
of years, Mr. August Rosse,
operates a boat yard at Es-
sington. Pa. I have had sev-
eral boats myself and have
stored them there and dur-
ing these years I have made
numerous friends. During
the summer months, I have
taken movies of them
around their boats at the
yard, loading, unloading,
and numerous shots made
on trips with them.

“Mr. Rose and myself,
give two shows during the
summer, one at mid-sum-
mer, the other at the close
of the boating season. They
are held in a large shed, in
which the boats are stored
during the winter. Seats are
constructed by the yard car-
penter which give it a thea-
tre-like atmosphere. Sev-
eral weeks in advance of
each show, signs are dis-
played and word is passed
around concerning the
shows and the dates they
will be shown. Each show
is started with the ‘Essing-
ton Reel,’ which now in-

cludes 1600 ft. of black and
white and color. This, of
course, is a silent subject,
but is accompanied with
suitable music by means of
my dual turntables and 10
watt amplifier. Following
this I show a couple of reels
of sound subjects, using my
B. & H. projector plus a
10 foot beaded screen. The
complete show takes about
two hours.

“These shows, for which I
am reimbursed by the yard
owner, have created much
interest among the boat
owners. I also have made a
host of friends. Some are
heads of large concerns and
officials of the city and state,
etc. As a result I have gone
to many of their homes
with my outfit and have
been well paid.”

Contest Winners

Among the winning con-
testants in FLome Movies’ re-
cently concluded 1941 Ama-
teur Contest, twelve Reel
Fellows were in the win-
ners’ circle. There were 36
awards for films, not count-
ing the achievement awards
which means that the twelve
Reel Fellows captured one-
third of the contest. This
can only indicate the high
degree of interest Reel Fel-
lows take in their hobby of
producing amateur movies
and to the fact they take
their hobby very seriously.

Four Reel Fellows cap-
tured four of the eleven ma-
jor awards. Mildred Cald-
well of the Long Beach,
California, Cinema Club

I HOME MOVIES FOR DECEMBER

captured two Honorable
Mention awards, and Ray-
mond Fosholdt, of the same
club, won a First Award
and the Achievement Tro-
phy for Editing.

Reel Fellow contest win-
ners are as follows : Ray-
mond Fosholdt, Long
Beach, Calif. ; Rev. Ray-
mond G. Heisel, Elmira, N.
Y. ; Erma Niedermeyer,
Milwaukee, Wise. ; Deme-
tris Emanuel, Los Angeles,
Calif. ; Bill A. Jones, Dover,
Ohio; J. O. McCracken,
Glendale, Calif. ; Alex W.
Morgan, Toledo, Ohio ; Dud-
ley Porter, Beverly Hills,
Calif. ; Mildred Caldwell,
Long Beach, Calif. ; Teel
Geurts, Salt Lake City,
Utah; Mrs. Warner Seely,
Cleveland, Ohio, and Dr.
Roy L. Gerstenkorn, Los
Angeles, Calif.

Televized

On Monday evening, No-
vember 10th, “On The
Spot,” Reel Fellow Deme-
tris Emanuel’s Honorable
Mention award winner was
telecast over the Don Lee
Television station W6XAO
in Hollywood, marking the
first film to go on the air
in a series of amateur
movie telecasts sponsored
by Don Lee with the co-
operation of Home Movies.

Emanuel’s fine amateur
movie was seen by a tele-
vision audience in South-
ern California estimated at
close to 2000 people, many
of them important person-
ages high in the motion pic-
ture and radio industry in
Hollywood.

Each Monday and Friday,
a good and continuous
16mm amateur-made movie
supply permitting, HOME
Movies will cooperate with
the Don Lee Television Sta-
tion in presenting amateur-
made movies to Southern
California’s television audi-
, ences.

'This provides a mark for
ambitious movie amateurs
to shoot for — to make good
scenarized, topical, or docu-
mentary films qualified to
be put on the air by tele-
vision. If you have a film
you believe will qualify,
send it to the Editor, Home
Movies, 6060 Sunset Blvd.,
Hollywood.

PAGE 563

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film — Agfa Twin-Eight Triple S Pan Re-
versible.

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grain quality and high resolving power so
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.1'

HOME MOVIES

Published In Hollywood
DECEMBER 1941

Harold M,

un pion ouii CHRisTmas

.. Fiimioi; Eniuv

W HAT fireworks are to the Fourth of July,
home movies are to Christmas. It just isn’t Christ-
mas in a cinebug’s home without a movie camera
to film the gaily decorated tree, and family, friends
and the children. Those who made movies last
Christmas and the Christmas before will be right
in there shooting when the festive day rolls around
again the 25th of this month. Those who’ll cele-
brate Christmas with a movie camera for the first
time this year, are looking forward to the day even
a little more eagerly.

All it takes to make a good, interesting Christ-
mas movie is a camera, roll of film, some lights —
and an idea. This last item is perhaps the most
important of all. Movies of Christmas as of vaca-
tions, travels, birthdays, etc. can be mei’ely record
reels of unplanned catch-as-can shooting, or they
can be complete little continuities with all scenes
strung together in definite relation to one another.
In other words, an amateur can start shooting
Christmas morning, and continue making sporadic
shots throughout the day, or he can start now and
plan his picture with a definite beginning leading
to a logical end. And this does not entail following
a scenario, although for the more ambitious film-
ers, several interesting Christmas scenarios are
provided in this issue beginning on page 568.

Actually, shooting Christmas scenes w'ith an eye

toward continuity means little more than follow-
ing the day’s events in the order they would ordi-
narily occur. If there are children in the family,
then Christmas activities — at least as far as our
movies are concerned — will revolve around them.
Christmas, after all, is the youngster’s day. Shoot-
ing can begin a few days before — of the children
scribbling their notes to Santa Claus. Play these
shots in closeup, for only closeups can portray the
complete expression of children in action of this
kind : stubby hands holding the pencil ; wetting the
pencil as he or she hesitates on the spelling of a
word ; asking mother for assistance in spelling, etc.

No need to show sealing the letter— just fade-
out to conclude this sequence. Then fade-in on the
next — of mother tucking the children in bed. Fol-
low this with shots of mother and dad trimming
the tree and arranging the toys. Mother or Dad
drops and breaks an ornament, or upsets a toy.
Upstairs, the children hear this; stare in wonder-
ment at each other as they conjure up things hap-
pening downstairs — perhaps Santa has arrived !

Christmas morn means getting up early to get
lights and camera in readiness to catch the genu-
ine expressions of joy and surprise that will flash

• Continued on Page 586

• Whether your Christ-
mas movie is to picture
activities of the children
or be merely a record of
Yuletide events, it will
be just as easy to shoot
scenes with a semblance
of continuity as making
a series of unplanned
random shots — and with
far more lasting interest.

565

Right camera position, light conditions and
exposure essentials for good snow pictures

By C URTIS RANDALL

UeCEMBER opens up an entirely fresh and
interesting season for movie making. Snow en-
hances almost any outdoor subject, be it fencepost,
landscape, or sport, and views often short of pho-
togenic appeal in the summer assume an entranc-
ing aspect in their winter mantle of snow.

All of which suggests that the movie amateur
living in snow regions, who puts his camera on
the shelf for the winter, is missing some of his
best movie making opportunities. Color film and
black and white share alike in snow filming ad-
vantages— color for movies of sports and personal

activities, and black and white for pictorial mov-
ies.

The increased popidarity of skiing in recent
years has done more perhaps than anything else
to rekindle interest in getting out of doors in the
winter time ; and the urge to make movies has nat-
urally followed this trend. As a result, the most
notable activities in winter amateur cinematog-
raphy to date have been on this subject. A few
exploring cinefilmers having detoured occasionally
from their ski filming, found equally interesting
subjects to shoot in surrounding snow-covered
landscapes, particularly when the sun was bright
and low enough to cast long shadows over a scene.

Bright sunshine is imperative for best snow
movies. Pictures filmed on an overcast day are
flat and lifeless and besides the shadows, so in-
teresting in snow pictures, are lacking. So choose
a bright day for filming snow movies. If it’s scen-

566

HOME MOVIES FOR DECEMBER

ery you wish to shoot, the things to be considered
are subject, composition, camera position and posi-
tion of sun in relation to the scene. Good snow
pictures require that the sun be in front of the
camera and low in the sky. Look at the pictures
on this page — note that in each instance, the sun
is in front and a little to one side of the camera.
This brings out the texture of the snow and en-
hances composition with shadows that break up
the large expanse of white.

In the skiing picture the sun not only brings out
the pattern of the broken snow but backlights the
skiier and causes reflection of light from the snow
to light up his features. In Robert Boyd’s famous
winter scene at the right, the carefully chosen
camera position made interesting an otherwise
ordinary street view. The engrossing pattern of
tree shadows breaks up the predominating ex-
panse of snow and serves to concentrate attention
on its broken texture. The right exposure, of
course, was an important factor.

It is in exposure that many amateurs err in
making snow movies. The brightness range on a
sunny day is extremely great and the film latitude
is not adequate to register the full range of a
snow scene. The extent of brightness in the high-
lights of reflecting snow is many hundreds times
greater than in the shadows of objects within the
scene. Inasmuch as interest will invariably lie in
the detail of the dark objects, an infallible rule in
snow photography is to expose for the shadows
and let the highlights take care of themselves.

For a high key scene like that of Robert Boyd’s,

• Waiting for right po-
sition of sun plus expos-
ing for detail In shadows
made the successful win-
ter scene above. At left
— example of fine detail
In snow texture obtained
by underexposing slight-
ly and using filter.

Robert Boyd

pictured above, exposing slightly more than nor-
mal brings out detail in the darker objects. In
other words, if your meter or exposure chart in-
dicates an exposure of f/8, make the shot with
lens set about % stop wider, or about f/6.3.

In many cases it will be found that the most at-
tractive feature of a snow scene is the texture of
the snow itself, particularly in an interesting com-
position like that in photo at bottom of this page.
Here, careful exposure calculation is again nec-
essary. Closing down the lens a half
a stoD beyond that called for by the
exposure meter will enable getting the
slight shadowy detail of snow textures
so often important to composition.

All of this does not mean that the
amateur will be shooting static scenery
shots. What has been said here rela-
tive to exposui’e, composition, camera
position, etc., applies to both static
shots and the basic background for
action shots of personal activities-^
skating, skiing, tobogganing, etc.

Let us consider your winter filming
wishes. Do you want to make a record
film of the beauty of winter — deep
snow drifts, snow laden trees, icicled
eaves, an ice-free brook meandering
through snow drifts, etc.? Then the
o Continued on Page 592

/t. R. Bowen

567

HOME MOVIES FOR DECEMBER

© Pictured here is an ideal setting tor the
first scene in "Merry Christmas, Son," with
screen player Mary Howard demonstrating
tree trimming technique. A study of the pic-
ture will show how the amateur can light and
compose a similar scene for best pictorial
results.

part. However, the youngsters should be selected
for their eagerness to cooperate and act as well
as their photogenic qualities, for much of the
punch of both stories depends upon the spontane-
ous manner in which action is put across.

The first script, “Merry Christmas, Son !” calls
for a cast consisting of Mother, Father, Son, and
a neighbor. Much of the shooting will be indoors,
so several photofloods and reflectors will be re-
quired. About two rolls of film will be needed —
super X pan, if black and white is to be used.
Type A Kodachrome if it’s to be in color. And
don’t forget the daylight filter for outdoor Koda-
chrome shots if Type A is to be used throughout.
The shooting script follows :

MERRY CHRISTMAS, SON!

Title : “ ’Twas the night before Christmas . . .’’

1. Med. shot — Interior of living room. Mother
on small step ladder putting finishing touches on
Christmas tree trimmings. Descends from ladder,
looking tired. Dad nearby on floor, sorting pack-
ages and distributing them around tree. As Moth-
er descends from ladder she staggers as though
dog-tired. Draws hand across brow as she looks
at Dad with faint smile. Dad pats her affection-
ately and urges her to go to bed. Dad speaks :

Title: “You go on to bed. I’ll fix the presents.”

2. Med. shot — Back to scene 1 as Dad finishes
speaking. Mother nods assent and exits slowly
from scene.

3. Med. closeup — Dad watches Mother exit, then,
looking down at presents on floor, continues to
arrange them.

4. Med. shot — Interior of Son’s bedroom. Moth-
er, in nightie, bends over sleeping son and kisses
him gently. Extinguishes room lights as she exits.

5. Back to scene 3. Dad arranging toys. Opens
a box, revealing a deflated football, and a pump.
Looks at ball fondly, then taking it from the box,
pumps it up. When it is fully inflated, he takes
a firm hold of it and pretends to throw a pass.

6. Med. shot — Same as previous scene — differ-
ent angle. Dad arises, and clasping football to
him, dashes the length of the room, as would a
football player in scrimmage.

7. Med. closeup — (Same scene as Scene 4).
Flashback of Son sleeping soundly.

8. Med. shot — Back to scene 6. Dad still rush-
ing about room with football, imitating a football
player on the field. Suddenly crashes into bridge

• Continued on Page 582

HY not shoot a Christmas story this year
that will provide good entertainment for spring,
summer, and autumn home movie shows and then
serve as the piece de resistance for next year’s
Christmas movie party? If one’s desire is to do
something more ambitious this Christmas than
film a series of record shots of the family, here are
two good scenarios with a-Loliday theme that can
be filmed with little trouble, small casts and a whale
of a lot of fun.

In the cast of both stories are children and if
there are none in your family it should be an easy
matter to get one or two neighbor kiddies to take

SKI SHOT like that on opposite page
can be had with a movie camera, too,
but camera must be low and sun just
right. Harold M. Lambert made the
picture. It will make a striking title
background for your skiing or winter
sports movies.

568

Wx-ii

»<•>;

^i.'~

HOME MOVIES FOR DECEMBER

slight image is necessary. You see,
the principle is to make an almost
transparent background strip that
will print over the title film simultane-
ously as the title is being photo-
graphed.

In shooting the background, ex-
posure should be about two stops less
than normal. Or, if normal exposure
has been given, the film can be slightly
underdeveloped to obtain the desired
thinness of image. This last pro-
cedure is usually preferred because it
is then possible to subdue highlights
and produce slightly more depth and fullness in
the entire background scene. Regardless which
procedure is followed, it is important that the
final result be a weak and almost washed out image
on the negative.

There will be times when a scene already pho-
tographed may be desired for the title back-
ground and this may be done by first copying the
scene on another strip of clear-base film — making
a negative of it, as already described. This opera-
tion will require a printing device — something few
amateurs possess. However, a very efficient printer
can be made from an old toy projector — usually
obtainable from pawn and second-hand shops.
Such a printer is illustrated in Fig. 1.

The important parts are the film gate and feed
sprocket. The rest of the projector — base, lamp
house, etc. — except the motor, may be discarded.
The unit can be mounted on a baseboard, as shown,
and the only additional accessories are the spin-
dles for holding film spools, a rheostat for con-
trolling speed of motor, and a light-tight source
of illumination fixed over the film aperture.

All copying work, especially that carried on
with the average amateur equipment where the
film is not encased in lightproof housing, must be
done in a darkroom. A red safelight may be em-
ployed at a moderate distance if the raw film used
is positive. The spool of film containing the
wanted background scene to be copied is attached

• Continued on Page 596

BflCliCIIOOODS 10

iomioa-Foii HUE!;

• Pictured here are two
home made printers for
use in duplicating scenes
to be used as title back-
grounds. That pictured
in Fig. I was made from
a discarded toy projec-
tor— that in Fig. 2 is
merely a Cine Kodak
temporarily rigged up
for the duplicating job.

570

In the November issue, beginning on page
521, we described a method for shooting titles and
title backgrounds together at one operation by
means of specially prepared transparent back-
ground celluloids which were placed over the title
card. This month we shall expand this technique,
showing how it is possible to film a moving back-
ground and title at one time without having to
wind back film in the camera and shoot the title
in two operations as is so often done. The chief
advantage in this system, of course,
is that a more professional-like title
results, with no wavering motion
between the title and the back- Fig- 2
ground.

This procedure is particularly in-
teresting to those amateurs who
wish to employ a certain style mov-
ing background in the titles of all
of their films, such as those seen in
the credit and lead titles of many
theatrical pictures. It is also adapt-
able where one chooses to use a live
scenic background for a title — per-
haps a scene from the picture.

The first step is to photograph
the background in a separate oper-
ation, using a clear base film in the
camera. A good film for this pur-
is developed to a negative as only a
pose is ordinary positive. The film

HOME MOVIES FOR DECEMBER

• Donald Manashaw's
first amateur effort sold
Bermuda cruises for his
employer. Today, he's
producing business films
in which such top flight
commentators as Alois
Havrilla and Lowell
Thomas, pictured here
with Manashaw, handle
the narration.

Elliott Clarke

\l ALUE of movies as an aid to defense is
demonstrated in the hundreds of films that are be-
ing produced to speed up education of defense in-
dustry workers. Not all of these films are being
made by major business or theatrical film produc-
ers.

on mouie

• Manashaw (left) pauses between shots to
discuss, with players, action for a scene in
"The Champions Write" which he recently
produced for Gregg Publishing Co.

571

One such film recently completed is “Men 0’
Defense,” sponsored by a large New York trade
school. And this highly effective film was written
and produced by Donald Manashaw, a young cine
enthusiast whose rise to professional ranks is an
interesting story. Not that “Men 0’ Defense” is
his first commercial venture; but being his most
recent and timely as well, it serves as an introduc-
tion to Manashaw’s accomplishments which should
prove interesting to every advanced amateur with
commercial production leanings.

Several years ago, Manashaw was employed as
Cruise Director for a large steamship line oper-
ating ships to Bermuda, West Indies, and South
America. The beautiful virgin scenery which
constantly assailed Manashaw on these trips
aroused artistic impulses latent within him. He
purchased a 4x5 Graflex and made photos wher-
ever he went. But he was not satisfied. Stills
failed to capture the vibrant life of the tropics.
They did not tell the story. Then he turned to
movies.

In no time at all Manashaw was just like any
other movie bug : shooting pictures ; rushing films
to the processors; and then biting his nails, im-
patient for their return. And then, even before
he had safely run the gantlet of hazards of the
average beginner — bad exposures, violent pan-

rom

ning, absence of continuity — he wanted to com-
mercialize on his new undertaking. It occurred to
him that the steamship line he worked for could
profitably use a film to promote travel. And dur-
ing the period he was making a series of one week
cruises to Bermuda, he shot one or two rolls of
Kodochrome each trip. After the film was proc-
essed he would take it to the camera store from

a Continued on Page 597

Elliott Clarke

star'll

HOME MOVIES FOR DECEMBER

NEW municipal auditorium, grand and
spacious, was nearing completion. The city coun-
cil, with an eye for publicity, had arranged with
the local camera club for a photo contest, offering
several prizes for the best amateur photographs
made of the interior of the auditorium a week
before the grand opening.

When the local amateur movie club heard of
this, they reasoned that 8 mm. and 16 mm. mov-
ies of the auditorium could prove good promotion,

too, and the club
went straight to the
city fathers with
their proposition.
The result was the
contest was expand-
ed to include ama-
teur motion pictures
and additional priz-
es were put up for
the winning movies.

Von Schoenfeldt

The movie club
was divided into
several filming
units, each to work
out its own continu-
ity and filming plans,
thus creating a more

• Admittedly difficult settings to photograph
with a movie camera, nevertheless the two
interiors pictured on this page were filmed
by the method described by Russell Dickson,
netting full detail and good quality of expos-
ure in shaded areas.

intensive and friendly rivalry. Shooting
scripts were closely guarded as were filming
plans, but eventually all groups ran into a
snag— the lighting of the auditorium’s vast
interior with the limited lighting equipment
the amateurs had at hand.

The rays of light from photofloods and
small reflectors, designed primarily for use
in filming living room scenes, failed to carry
beyond twenty or thirty feet with the result
that detail was lacking in the backgrounds.
Eventually the amateur groups, in full appre-
ciation of this obstacle, pooled their lighting
equipment, hoping the aggregate would pro-
vide the iiecessary illumination. By this time
the individual groups abandoned their prac-
tice of shooting secretly and arranged to
shoot the larger scenes together with all
lighting units pouring illumination on the
set at one time. That is, all but one group did.

The “holdout” group had made a discovery and
soon word got around to their rivals that already
they had the larger interior scenes successfully
filmed. There was much wild speculation, of
course, as to just how it had been accomplished.
By this time it was well known that there were
not enough amateur lighting units in the entire
city to illuminate the auditorium’s vast interior
for a movie long shot. Had someone shipped in
studio lights from Hollywood? Had the film first
been hyper -sensitized? Every movie amateur
awaited revelation of the secret.

Eventually the big night arrived when contest-
ant’s photographs were to be displayed and the
movies screened for the judges. The successful
movie makers had not as yet revealed their secret.
But after screening their picture, it was unani-
mously declared the first prize winner and ac-
claimed an unusual piece of amateur cinematic
achievement.

The picture, with a pleasing thread of continu-
ity woven through it, began with a husband and
wife meeting visitors at the airport. Proud boost-
ers of their city, they proceed to show their friends
the sights, eventually arriving in front of the new
municipal auditorium. After pointing out the
many interesting features of the auditorium’s
exterior, the people enter the structure. The cam-
era follows them inside, picturing the interior as
seen through the eyes of visitors.

The picture was aptly intercut with closeups
of the husband pointing to some interesting fea-
ture— the stage, ceiling, murals, etc. — and then
excellently lighted shots of each of these features
followed on the screen. Each was perfectly ex-
posed and needle sharp in detail.

The film went on, shot after shot as evenly and
accurately exposed as the rest, rounding out a
perfect movie of the proud city’s newest structure.
Almost immediately after this auspicious pre-
miere of the picture, movie amateurs of the club
who had failed in their attempts to photograph

• Continued on Page 590

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572

HOME MOVIES FOR DECEMBER

/IlFTER winning the 1940 Lloyd Ba-
con Trophy with his now famous 8 mm. film,
“Angels Are Made of Wood,” Herman Bar-
tel decided 16 mm. afforded wider latitude
than eight, especially for his more ambitious
efforts, and he exchanged his old equipment
for sixteen. Not long afterward, he set to
work filming the successor to his prize-win-
ning film, “Do It Again, Harry.”

While “Do It Again, Harry” does not
have quite the story appeal of “Angels Are
Made of Wood,” it makes up for any plot
deficiency by fine camera work and excel-
lent interior lighting. And this, plus good
editing, easily wins for the picture the hon-
or of Movie of The Month.

The story concerns the training of a new-
ly acquired dog. In the end, the dog trains
his master. Harry Etchells, who played the
part of the artist in the 1940 prize picture
is again cast as an artist who purchases a
Scottie. Dodo, the artist’s manikin, is also
featured plus a toy Scottie dog named
Screwball.

The yarn begins with the artist thumb-
ing the pages of a popular magazine. At-
tracted by an advertisement offering pedi-
greed Scotties, the artist sets out to buy
one. We see him returning home with the
dog, Murdock, on a leash and with a new book
under one arm. The book, captioned, “How To
Train Your Dog,” is carefully studied and then the
artist proceeds to follow its instructions. His
trials and tribulations that follow furnish many
laughs. He spreads newspapers on the kitchen
floor and then Murdock singles out an uncovered
spot. The dog sneaks up stairs to a bedroom and
turns it into a shambles. In the end the artist,
worn to a frazzle, retires ; and we see him rolling
and tossing in bed as he struggles mentally with
his new problem.

Falling asleep, he dreams of the solution. The
manikin. Dodo, using the toy Scottie, Screwball,
for a student, puts the dog through a training pe-
riod but with little success until giving Screwball
a scotch highball and later a porterhouse steak!

The proper training system thus revealed by the
dream, the artist arises the following morning,
quite exuberant, stops at the fireplace where
Dodo and Screwball repose as ornaments and
thanks them graciously. Then Murdock enters the
room. The artist tries some of the persuasion
which Dodo used on Screwball in the dream but
without avail. Then he changes his approach —
tries to teach Murdock tricks. He demonstrates
how a dog should play dead, and so effectively,
that Dodo and Screwball come to life and, together
with Murdock, indulge in much cheering and ut-
terance of “Bravos” for the artist’s performance.

So effectively is Dodo maneuvered in the anima-
tion sequence that he seems almost lifelike, dem-
onstrating that Bartel is a master at this type of

cinematic work. It takes unbounded patience to
change the position of a manikin’s limb or head in
order to gain lifelike movement and especially to
move several members of the body just the right
distance each time to produce simultaneous nat-
ural movement.

It takes even more infinite pains to build small
sets on which to stage the actions of manikins
and to effectively light such sets in order that they
will appear as full size on the screen. What Bar-
tel did with lighting and staging in his first pic-
ture he has far surpassed in this one.

His camera handling is something to study, too.
Zoom shots are frequent and are just as smooth as
anything seen professionally. Lap dissolves are
used quite often and these ai’e extremely smooth

• Continued on Page 600

• Pictured above are en-
largements from Herman
Bartel's Movie of the
Month, 'Do It Again,
Harry," which pictures
the tribulations of a man
who tries to train a new
dog scientifically.

573

Bornmann

Fig. I

Fig. 2

Fig. 3

dome

into tLode cL

oSeupd

N M

N N

T HE best professional photog-raphers, both
motion picture and portrait, reached their envi-
able positions because they mastered the art of
“glamorizing” their subjects. We often hear of
certain stars in Hollywood who refuse to sign for

a role unless they can have, behind the camera,
their favorite cinematographer — the cameraman
who has made a detailed study of the star and
knows how to place lights and shoot at the right
angles to picture the player to best advantage.

Nearly all of us have certain facial character-
istics which can be emphasized or subdued by the
proper photographic technique. And when a pho-
tographer does this, we have nothing but praise
and, of course, the willingness to pay a better
price, for the result. This is interesting to the
movie amateur because, sooner or later, he will
use his movie camera to picture members of his
family, if for no other reason than to satisfy their
curiosity as to just how they look in movies. Often
there is a striking difference.

I know many whose peculiarities of head struc-
ture or facial features are never obvious on per-
sonal contact; yet, when pictured on the screen
in closeups, their peculiarities stand out emphat-
ically. One thing the cine camera does most often
than not is to make stout people appear slen-
der, and tall people appear more normal in
size.

Fig. 4 Fig. 5

Bornmann

By this same quirk of the camera, people
pictured in closeups can be made to look far
more glamorous than when off the screen.
Some of Hollywood’s most famous stars are
scarcely recognizable when outside the studio
sans makeup. Many look entirely different
off the screen and have the motion picture
camera, plus makeup and good lighting to
thank for much of their popularity.

Because of the generally small area of ■
home movie screens, amateur movies are ■
more appealing and easier on the eyes when

• Continued on Page 584

O Pictures on this page demonstrate results obtained
when lighting a subject for closeup. Beginning with
Fig. I where a single, uncomplimentary light source
was used, the demonstration continues to Figs. 4
and 5, which show how full charm of subject is
brought out by studied, natural lighting.

574

HOME MOVIES FOR DECEMBER

This helpful criticism
is tree and bound to

improve your movies

B y

Two things indicate increasing interest in
the amateur film reviews published each month
in HOME MOVIES : more films are being submit-
ted for review and criticism, and the films sub-
mitted are rating in the higher brackets — mostly
in the three-star class.

Every film reviewed is returned with an attrac-
tive animated leader attached indicating its class-
ification, and the best film reviewed each month is
chosen the Movie of The Month. This service and
its accompanying awards are available to every
movie amateur. Don’t hesitate to take advantage
of it for it may enable you to improve your pho-
tography, editing, or titling. Study the following
reviews for any suggestions that may be helpful
to you:

"CANADA'S PEACE" ★★★

200 feet 8 mm. Kodachrome — By B. A.

Contmuity : This film is a record of a trip made
through Canada, picturing especially its National
Parks, mountains, rivers, and lakes. While, unfor-
tunately, none of these are introduced and de-
scribed by titles, the picture is, nonetheless, a
feast of fine scenic shots which seem to flow along
smoothly in spite of absent captions.

The opening shots were made from the window
of a railway coach, showing many picturesque
sites as the train approaches Vancouver. Then
the arrival at Vancouver is pictured — first a close-
up of the sign over the station, then general views
of the station and the city. Following this are
numerous scenes of the country which lies back
of Vancouver — all scenically beautiful, well com-
posed and photographed.

Photography: Splendid — very fine composition
throughout enhanced by sharp exposures, steady
camera, and smooth panning.

Editing: This picture could easily have been
spoiled by bad editing because much of it consists
of scenes in which there is no action. But each
scene has been cut to just the right length, and
in many sequences the shots were made from a
moving railway coach or boat which lent a sense
of movement to the scenes — particularly because
the movement was always in the same direction,
from left to right. Few people appear in any of
the scenes until toward the last and their appear-
ance at this point is timely in that they inject in-
terest into the picture where it might otherwise
become boring through the continuation of scenic
shots.

Titling: As already stated, there were no titles
other than the main and end titles. These were
well done, however, and judging from their qual-
ity, this filmer is quite capable of improving his
good picture by adding the necessary descriptive
subtitles which the picture now lacks.

• Above — Reproduction
of frame enlargements
from the 8 mm. amateur
films, "Canada's Peace"
and "Sea City." Below —
Scenes from the 8 mm.
film, "The Doctor Takes
a Wife." All three pic-
tures have been reviewed
by Home Movies' edi-
tors, a detailed analysis
sent to the makers, and
a two or three star lead-
er attached to each film.

Remarks: It can be said
that this filmer is a good
cinematographer. He has
demonstrated, in this pic-
ture, that he knows good
composition when he sees it
and knows how to handle
his camera to get it on film.
By cutting in action shots
between his static scenic se-
quences, he has also dem-
onstrated his ability as an
editor.

"THE DOCTOR TAKES A

WIFE" ★★★

75 feet 8 mm. — By G. C.

Continuity: This is an in-
teresting and concise rec-
ord of a wedding. At the
beginning we see the bride-
to-be having her gown fit-
ted. This is followed by a
cut to the groom showing
him dressing for the wed-
ding. The ceremony begins,
and this takes place in the
home. The bridesmaids en-
ter the room followed by
the flower girl and candle-

• Continued on Page 588

PAGE 576

HOME MOVIES FOR DECEMBER

III spiim vonii

A Christmas Bonus Check, like a Bank Night pay-off, gives
you something to spend tor something you've always wanted

It’S a grand feeling to get a nice bonus eheck for Christmas and the wise amateur
will plan, as his first purchase (and not unselfishly) , something he needs for his hobby
— sort of make a Christmas present to himself of a gadget or accessory long yearned
for but seemingly always out of reach.

Few, indeed, are the cinebugs whose want list does not include a number of movie
items, further complicating their acquisition. But now, with bonus money in sight,
let’s give a little thought to those items needed most. Listed here, according to the
various departments of our home movie hobby, are many important items which are
necessary to the amateur after acquiring camera and projector.

This list is prepared for two purposes: to jog your memory and to bring to atten-
tion names of products and their respective prices. And just in case you’ll entrust
spending of that bonus check to someone else, leave this magazine — opened to this
page — in a conspicuous place so she can pick up a gift hint or two.

All prices are approximate. None quoted here can be guaranteed as many manu-
facturers are currently revising costs and selling prices due to the national emer-
gency. Addresses of all manufacturers appear on page 601.

FOR PHOTOGRAPHY

PAN-TILT top for tripods — Pioneer, for still
or movie cameras. $2.50 at Willoughbys.

F-R HI-SPOT — Hollywood type spotlight for
movie amateurs complete with 200 watt lamp,
$13.35. Fink-Roselieve.

SPOTLIGHT BOOM— for holding spotlights
in elevated position. Adjustable and counter-
balanced, $10.65. Fink-Roselieve.

REFLECTORS — for Photofloods, clamp-on
and tripod types of spun aluminum at prices
for every pocketbook. Acme-Lite Mfg. Co.

GARMUR CABLE Release — for most all
makes cine cameras, simplifies single frame
exposure, straight filming. $2.00 up. Gar-
mur Products.

VICTOR Lighting equipment — spun alumi-
num reflector and 3-section stand, $9.75. Other
types for less. Jas. H. Smith & Sons Corp.

WESTON exposure meter — Junior Cine for
movie cameras, $16.50. Master Cine, $25.50.
Weston Electric Instrument Co.

CINE-TRANSITO, by Baia, makes wipes,
fades, and dissolves. Fits lenses of all movie
cameras. $9.95 with lens adapter and wipe
disc only; $14.85 with adapter, vignetter, and
wipe and fade discs. American Bolex Co.

CINE FILTER KITS^ filters and dual
snap-on shade and holder to meet all cine
needs. $6.00. Harrison & Harrison.

WOLLENSAK lenses for cine cameras — reg-
ular, wide-angle, telephoto. Prices dependent
upon quality and size. Wollensak Optical Co.

TRI-METAL TRIPODS — exclusive rigidized
construction with sui’e-foot points and quick
locking screw. Complete with tilt-pan head,
$22.50. Thalhammer Co.

G-E EXPOSURE METER— the new G-E,
three meters in one, featuring easy one-hand
operation, $22.25. General Electric Co.

FILTER KIT for color film — includes lens
shade and filter holder, Kodachrome haze
filter, conversion filter, and filter pouch, $4.75.
Ponder & Best.

GIBBS FLOOD-GUNS, a dual flood light
that follows the camera — two reflectors
mounted on metal arm that attaches to cam-
era. $5.50. Arthur E. Gibbs.

KINO-HYPAR lenses, f/2.7 and f/3.5 for all
cine cameras. Prices on application. C. P.
Goerz American Optical Co.

TELETAR telephoto lenses — fully corrected
for color available for 8mm. and 16mm. cam-
eras, from $18 to $35. Willoughbys.

ROYAL TRIPOD — of tubular metal complete
with pan and tilt top, rubber tips, chromium
finish, $18.15. Albert Specialty Co.

DeJUR-AMSCO exposure meter — Critic Cine
model for movies. One hand operation gives
ratings from .3 to 800. $18.75. DeJur-Amsco
Corp.

BOOL CINE FADER — attaches to lens of
camera, makes 64 different cinematic trick
effects, including fades and lap-dissolves,
$18.75. American Bolex Co.

SPORTSMAN TRIPOD — two-section hickory,
quick lock, with pan and tilt head, $6.95. Bass
CamerarUo.

PHOTRIX CINE exposure meter — needle in-
dicates f stop directly, no calculation neces-
sary. Precision movement, $22.75. Intercon-
tinental Mktg. Co.

m\um

HOLLYWOOD TRIPOD — exclusive feature
enables adjusting tilt and pan action to in-
dividual touch. Complete with head, $15.75.
R. J. Pagliuso Co.

WINDBACKS — ^^custom-built for most all
cine cameras. Enables making lap-dissolves
and other effects. Guaranteed. $15.00 to
$25.00. Custom-Built Accessories Co.

CINE-EXTENAR wide angle lens — converts
your regular 8mm. lens to wide angle. Simply
screw in front of regular lens. $25.00. Cam-
era Specialty Co.

WESCO FADETTE — fits over lens to pro-
duce an iris-like fade. Manually operated by
cable release. $5.95. Western Movie Supply.

F-R RANGE FINDER for all cine cameras.
Brilliant image and a guarantee of accuracy
among its many features. $5.75. Fink-Rose-
lieve Co., Inc.

G-M EXPOSURE METER— electronic, read-
ing light values direct. Handsome plastic
case, neck cord, $8.75. G-M Laboratories, Inc.

WIDE ANGLE auxiliary lens — fits over reg-
ular 8mm. lens, converting it to wide angle.
Fully optically corrected, $21.00. Mack Op-
tical Co.

ROTO-FADE — attaches to camera lens to
produce for making fades and dissolves. Fades
produced by graduated disc rotated before
lens. Fits all lenses up to 22mm. $15.00.
Harrison & Harrison.

HAMPDEN MAKEUP kits, for black and
white movies. An easy-to-use kit for all
makeup needs. Creamy, non-greasy makeup
sticks, blends perfectly, easy to remove, $2.00.
Hampden Sales Co.

HAYDEN AUDIBLE footage meter for
Filmo, Victor and Eastman cine cameras.
Easy to attach. Tells footage used while
shooting without having to watch footage
guide. Ideal in making lap-dissolves. $7.50.

GEARMASTER — professional type tilt-pan
tripod head for all cine camera tripods. All
gear-controlled. $16.50. Photo Engineering Co.

JOHNSON PARALLAX Corrector — assures
accurate centering of titles and closeups. One
model adjustable to all cine cameras. $12.50.
Johnston Mfg. Co.

BOLEX IRIS VIGNETTER— a total-closing
iris for making vignettes and fades. Adapt-
able to most all 1" cine lenses. $10.00. Ameri-
can Bolex Co.

ENTECO LENS SHADE and Filter Kit—
includes duraluminum sunshade and filter
holder and two dyed-glass optical filters.
$3.95. Enteco Camera Accessories.

FILMO FADER — readily attachable to any
movie camera for making fades and dissolves.
May be operated with hand held as well as
tripod mounted cameras. $18.65. Bell &
Howell.

FOR EDITING

CRAIG SENIOR SPLICER — makes profes-
sional-like splices in four easy operations.
Mounted on attractive wooden base, complete
with cemnet, $10.95. Craig Movie Supply Co.

CRAIG PROJECTO - EDITOR — affords a
smooth animated viewing method in editing
films. Complete with rewinds and splicer —
16 mm. model, $59.50; for 8 mm., $37.50. Craig
Movie Supply Co.

CINEA CEMENT — odorless, slow-to-evapo-
rate cement in new style hard-to-tip bottle
fitted with glass applicator. 25c for 1-oz. bot-
tle. American Bolex Co.

FILMO SPLICER — for 8 mm. and 16 mm.
films. Makes a durable diagonal splice. Metal
working parts, mounted on attractive wooden
base. Scraper blade, cement and water bottle
included, $5.05. Bell & Howell Co.

FILMO REWINDS — take either 8mm. or 16
mm. reels up to 400 feet in size. Both re-
winds geared permitting rewinding in either
direction. $9.35 per pair. Bell & Howell.

F-R CINE action Editor — Patterned after
Hollywood equipment, affords smooth, con-
tinuous, brilliantly magnified viewing of films.
Separate models for 8mm. or 16mm. $10.65.
Fink-Roselieve Co.

F-R SPLICER — semi-automatic dry scraper
type splicer for 8mm. and 16mm. film. Strong,
permanent clean splices assui'ed. $4.75. Fink-
Roselieve Co.

BOLEX REWINDS — ^feature adjustable ten-
sion and drag which prevent backspinning of
reels and leaves one hand free. Smooth and
quiet in operation. Take up to 800 foot reels.
$12.00 pair. American Bolex Co.

BOOL AUTOMATIC SPLICER— for 8mm.
9%mm. and 16mm. films, all steel construc-
tion in satin finish. Features double-edged
scraper, ebony finish wooden base. $12.00.
American Bolex Co.

SEEMANN SPLICER — an all metal, precision
built splicer that assures quick, firm splices
of 8mm. and 16mm. film. Features dry scrap-
er, non-tipping cement bottle. $3.95. Whole-
sale Photo Supply Co.

SEEMANN EDITEER — offers rewinds, splic-
er, viewing device, and rack for holding film
sections — all in one unit. $13.95. Wholesale
Photo Supply Co.

*‘Dick” Whittington

FRANKLIN REWINDS— for 8mm. and 16
mm. reels. Geared 5 to 1, and features clutch
crank, $4.50 pair. Franklin Photographic In-
dustries, Inc.

FRANKLIN SPLICER— for 8mm. and 16
mm. film. Cuts and cements in one operation.
Precision built, chrome plated, mounted on
wood base. $6.50. Franklin Photographic In-
dustries, Inc.

KODASCOPE MOVIE VIEWER— for scan-
ning and identifying scenes as an adjunct to
careful editing. Image projected on small
screen. Provides punch for marking edge of
film. $20.00. Eastman Kodak Co.

EASTMAN UNIVERSAL SPLICER — for
both 8mm. and 16mm. film. Features two-
bladed shearing knife, positive scraper, semi-
automatic action. $12.50. Eastman Kodak Co.

FILMOTION EDITOR— for 8mm. and 16mm.
Provides animated projection image of film
on translucent screen. Unit also includes re-
winds, and splicer — all mounted on substan-
tial metal base. $72.00. Bell & Howell Co.

KEYSTONE EDITOR-SPLICER— a compact
editing unit that includes an electric viewer,
pair of rewinds and standard splicer. All
units mounted on one attractive wooden base.
$6.95. Keystone Mfg. Co.

BAIA VIEWER — for 16mm. film. Affords
clear, bright projected image, amply magni-
fied. Button on top of viewer marks frames
for cutting. Base drilled for mounting on
editing board. $7.95. American Bolex Co.

CINEA SPLICER— for both 8mm. and 16
mm. film. Special exclusive construction.
Drilled for mounting. $10.00. American Bo-
lex Co.

FOR TITLING

TITLER — a universal titler for almost all
makes of 8mm. and 16mm. cameras. Makes
titles at 4", 6", 8" and 12" distance from cam-
era. Accurate alignment feature for cam-
era. Zoom feature. Trick accessories avail-
able. Without lights, $6:95. With lights,
$9.95. Hollywood Cine Products Co.

• Continued on Page 594

577

PAGE 578

HOME MOVIES FOR DECEMBER

^ new experi
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chmipan^,

^viJi^ation Ti

• • • baff,
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fnce in

-^becSes^o^'

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capture a be
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taking d
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THRIlis

'»«S magazin

R. C. A. BUILDING
NEW YORK

FIELD BUILDING
CHICAGO

RUSS BUILDING
SAN FRANCISCO

emAlffETmOFTHRIllS

A LIVING, LASTING GIFT!

COST LESS

THAN UNEXPOSED FILM!

Give life! Give action! Give fun! Give the
super-thrill of a seat on the 50 yd. line at
the year’s best football games! Give world
history as it actually happened! Give the
joy of travel to strange, faraway places!

Give daring adventure! Give laughter and
joy— give happiness for less than the cost
of unexposed movie film! Look at these
great selections! Then— give them! Thrill
all your family and friends!

HOME MOVIES FOR DECEMBER

PAGE 579

scenes irom
history of our
IS history ac-
;dl An impot-
t that will be-
n.Qble to all in

So;ve vo"

itiexpen • B'ft

Pdl

mm ame mm/

^fi?OsT,» fron,. ,, *“b-

“MARv’c, Hrr

SEE YOUR PHOTO DEALER
NOW WHILE HIS STOCKS ARE COMPLETE!

All Castle 16 mm. films are processed by VAP-O-RATE. All 8 mm. Castle films also are treated.

LOW COST

8 mm. SIZE

16 mm. SIZE

50 Ft.

180 Ft.

100 Ft.

360 Ft.

Sound 350 Ft.

$1.75

$5.50

$2.75

$8.75

$17.50

CASTLE FILMS
R. C. A. Bldg. Field Bldg. Russ Bldg. (

New York Chicago San Francisco ]

Please send me yonr color Cartoon Uooklet. □
Please .send me your new l!)f2 rnKti Catalogue. □

.Vf/»re

Cheek one or both

*Fnr prices on color cartoons, see color catalogue or your dealer.
Cartoons in black and white at regular Castle Films’ prices.

A rldrc.ss

Citu^-- State MM 12

PAGE 580

HOME MOVIES FOR DECEMBER

Scroll Tiller

While hastening to complete produc-
tion of a travel film on the State of New
Mexico, I ran into difficulties when I be-
gan to make the lengthy explanatory
title preceding the picture. This title
was lettered on a 12 foot strip of paper
about 24 inches wide and designed to
move upward through a decorative
frame during shooting.

Several methods of moving the strip
by hand were tried, only to have the
paper buckle and the passage so jerky,
that reading was almost impossible.
Just when it appeared that production
of this title was stymied, the idea of em-
ploying an automatic ironer occurred to
me. A local dealer arranged the loan of
a Maytag Model F-10 ironer which has
a dual speed control. Use of the low
speed on the ironer coupled with normal
speed on the movie camera proved the
ideal combination to produce a smooth
even flowing scroll title.

The arrangement of ironer, title, and
camera is shown in accompanying
photograph.

— W'yatt Davis,

Santa Fe, N. Mexico.

Duplicating Aid

The device described here will enable
any amateur to duplicate 8mm or 16mm
movie film, using his projector for the
printer. The device is an auxiliary lamp
house that fits into the projection lens

CUT-AWAY VIEW OF DUPLICATOR

BRASS STRAP
SOLDERED TO BULB

housing, furnishing a printing light of
the desired intensity which is regulated
by a rheostat built into the lamp house
as shown.

Necessary materials for construction
consist of a length of metal tubing, the

THE im

same diameter as projection lens barrel,
and this should be long enough to extend
from the aperture plate to one inch
past front of projector; also, one 7i4
watt 110 V. frosted bulb; one rotary
rheostat switch; 8 feet rubber covered
two-strand fixture cord ; one male re-
ceptacle plug; and one tin can aboLit 2"
in diameter and 3" long with a sniLg fit-
ting lid.

Drill a hole in center of lid same
diameter as metal tube and solder to
tube. In bottom of can, cut another hole
to take the switch. Solder small strip of
brass to bulb, and then connect this to
switch as shown in sketch. In this op-
eration, make sure bulb is centered on
opening in lid.

To make a duplicate print, remove
projector lens and insert this gadget in
its place, forcing tube all the way up
flush with aperture plate. Disconnect
or switch off regular projection bulb.
Thread film to be duplicated together
with the positive film in the projector
with emulsions face to face and with the
film to be duplicated on the outside or
facing the light source. Start projector
and run at normal speed.

Tests will be necessary of course to
determine the proper printing light.
These may be run off on short strips of
film which can be quickly processed by
hand.

— David H. Thomas,
Martin’s Ferry, Ohio.

Editing Rack

An important adjunct to film editing
is some means for holding the various
scenes neatly, ready for splicing, after
having been separated from the un-
edited spool of film. Any amateur can
build a simple film file from materials
at hand around the home.

Materials necessary to construct the
one picture here are as follows : a card-
board box (size depends upon number of
scene compartments desired) ; tubular
cardboard cores from paper toweling or
rolls of toilet tissue; and a little glue.
Only tools required are a pocket knife,
pencil, discarded double edged razor
blade, and small block of wood.

TheMatter two are fashioned into a
tool for cutting the paper tubes into
sections 1" in length. This is done by
inserting razor blade into a slot cut into
wooden block and rotating the paper

H I M E n A L

tube over razor edge until the measured
segments are severed.

The tube segments are then glued in
place in the box, as shown, by applying
a small amount of glue to one edge,
pressing firmly in place and allowing to
dry. The index numbers are cut from
old calendar pages and pasted above the
rows of compartments or pasted within
each compartment as desired.

— Donald Voorheis,
Birmingham, Mich.

Fasted Frogram

Complete home theatres are no longer
a novelty but pictured here is an inno-
vation which I have added to mine that
has made quite a hit with friends who
make up my audience. Just below the
screen I have posted a complete list of
all films which I have available for
screening with data showing time re-
quired for the projection of each.

As each new production of mine is
finished, it is listed on this permanent
program.

— H. W. Stalgren,
Denver, Colo.

Developing Reel

Recently I experimented with a variety
of materials in an effort to construct a
low cost developing reel for processing
my positive movie titles. I discovered
that a “Tinkertoy” set obtainable at toy
counters furnishes just the material
necessary to construct a very satisfac-
tory reel. The large sets provide enough
spindles and spools for erecting a reel
that will accommodate 25 to 30 feet
of film.

It is important to obtain the set in
which all pieces are unpainted. In as-
sembling the reel, I dipped the end of
each spindle in “Casco” glue. Thus when
completed, the reel offered a substan-
tial piece of apparatus for an endless
amount of title developing.

The reel was finished with a coat of
chemical - resistant paint. Supporting
standards were made of two pieces of
white pine and these were so arranged
as to permit placement of an ordinary
photographic developing tray beneath
the reel to hold developing solution.

— John Cornell.

Cincinnati, Ohio.

HOME MOVIES FOR DECEMBER

PAGE 581

tin w

Suitcase Titter

Here is an idea for a portable “suit-
case” titler that can be carried along on
vacation and fishing trips for making
titles as you go with natural scenic or
action backgrounds.

Titler consists of three wooden frames
of the desired size, all of which are
hinged together at one edge. The central
frame holds a panel of clear glass which
acts as the title board, taking the ad-
hesive title letters as shown in illustra-
tions. Remaining two frames are cov-
ered with plywood and these form the
cover or fold back to act as a tripod or
support for the titler.

Handle for carrying this gadget is at-
tached to the central frame and a small
metal clasp holds the covers in closed
position when titler is not in use. Entire
unit is finished in flat black.

To use, titler is erected in front of the
desired scenic background, as shown,
then adhesive title letters are arranged
on the glass to form the title text. Cam-
era is set up at required distance and
focused sharply wpon title letters. Where
light conditions permit use of small stop
on camera, both title and background
will be in sharp focus. Otherwise title
will be sharp with background slightly
out of focus — a frequently desired effect.

— E. W. Taylor,

Grand Junction, Colo.

Scratch-prnnf Cleaners

I make it a practice to carry in both
my camera and projector case a package
of ordinary pipe cleaners. These are
ideal for dislodging dust and emulsion
particles from the film gate, dusting the
lens, and for applying oil to moving
parts. When folded in the middle, a tiny
brush is formed that can safely be used
without danger of scratching polished
surfaces.

— Edwin D. Taylor,
Pearl Riier, N. Y.

Cnlor Transition

An almost unnoticeable transition
from black and white to color, where
both kinds of film are spliced together
in one reel, can be effected by use of a
dye. The black and white scene or title

B K li H 0 P

adjoining the color film is dyed grad-
ually— that is, from a faint tone to a
deep color — much the same as in making
a chemical fade. Thus the color appears
on the screen gradually, breaking up
the harsh contrast that usually occurs
when black and white scenes flash on the
screen alternately. Red or purple dye
is the most satisfactory for this purpose.

— Alton Brown,
Denver, Colo.

Filter Checker

The factor of any filter can be deter-
mined by the following method provid-
ing you also have a photo-electric ex-
posure meter. Take a sheet of black
paper and cut a hole in same the size
of the filter disc to be measured. Hold-
ing this paper toward the sky, take an
exposure reading with your meter of the
light coming through the hole. Then
place filter in opening and take another
reading, taking care that paper and
meter are held at same angle and toward
same direction as in previous reading.

If reading is, for example, 100 with-
out the filter and 25 with filter, this in-
dicates the filter has a X4 factor rating.

— Stanley Jepson,
Bombay, India.

Fuzz Eliminator

When that bothersome fuzz clings to
the edge of projector film aperture, it
may be quickly removed even during
projection by a draught of air from a
dental syringe. This type syringe is par-
ticularly adaptable for this purpose be-
cause of its long, erect stem so necessary
to get at the vital spot of many pro-
jectors.

A syringe of this kind often can be
had from your local dentist, or he can
obtain a new one for you from his
supply house.

_r. D. Garlock.

II oily wood, Calif.

Spotlight

In a pinch your projector may be used
as a spotlight for lighting up small areas
as in animation or miniature photog-
raphy, or for special lighting effects in
title making. Simple remove belt from
motor so that the shutter will not oper-
ate, and direct light beam as desired.
For circular spots, cut a round hole in
a piece of cardboard and affix over the

tricLd and
dliort cutd contrduted

C^ineLi

IF YOU have an idea for a gadget, trick,
or shortcut in filming, titling, editing or
processing home movies, pass it on to
your fellow cinebugs through these columns.
If your idea is published you will receive two
reels for your efforts. Extraordinary ideos
will net you a roll of film.

Important: When submitting ideas, be sure
to mention whether equipment you use is
8 mm. or 16 mm., enabling us to promptly
forward awards adaptable to your use.

lens, otherwise the beam of light will be
rectangular as per the opening of the
film aperture.

— George Burns
Phila., Pa.

Editing Outfit

Here is a film editing unit that enables
me to keep all of my editing equipment
together in one place, inviting many
pleasant hours in this branch of my
movie hobby. It had its beginning in a
small typewriter table with an ample
drawer which I had divided into 21 com-
partments for holding individual film
scenes.

Another cabinet, with snug - fitting
dust-proof doors was built and fitted in
upright position above the desk as
shown. This cabinet is also divided, and
provides for holding 40 separate film

• Continued on Page 601

PAGE 582

HOME MOVIES FOR DECEMBER

love to have. Get them . . . crisp,
sparkling, and clear . . . with G-E
MAZDA Photofloods.

They’re made by the folks who
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more than half a century of lamp
making can provide.

No. 1 . . 15c No. 2 . . 30c

(With Daylight blue bulbs, for blending
with daylight when using Kodachrome,

No. B-l . . . 30c No. B-2 . . . 60c)

And, as an extra light or away
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GENERAt@ELECTRIC

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^wo C^LriAtmcLd

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• Continued from Page 568

lamp, upsetting it.

9. Med. shot — Mother’s
bedroom. She sits up with
a start as she hears crash
in parlor. Flashes on lights.
Calls to Dad.

10. Med. closeup — Back
to scene 8. Dad, hearing
Mother, answers, reassur-
ing her everything’s all
right.

11. Med. shot — Back to
scene 9. Mother hears Dad’s
reassuring words. Turns
out light and goes back to
sleep.

12. Med. shot — Dad tidy-
ing up around tree. Turns
out lights and exits. Fade-
out.

13. Med. shot — Fade-in
(next morning) Dad, Moth-
er and Son, fully dressed
and seated on parlor floor
around tree and opening
gifts. Mother unwraps one
of her gifts.

14. Closeup — Mother’s
gift.

15. Med. shot- — Back to
scene 13. Dad unwraps one
of his gifts — a box of cig-
ars. Opens box, takes out a
cigar and lights it. Mean-
time, Son is unwrapping a
gift. With a joyous shout
he reveals the football.

16. Closeup of Son as he
registers joy and surprise
as he unwraps football.

17. Med. shot — Back to
scene 15. Son jumps to his
feet and goes through mo-
tions of a football player
while his happy parents
look on interestedly. Dad
lays down lighted cigar,
gets to feet and walks over
to Son. Taking football from
him, suggests they go out-
doors and play with it. Dad
speaks to Son :

Title: “Let’s go outside
and try it out !

18. Closeup of Dad and
Son as Dad finishes talking.
Son consents, happily, at
the same time timidly reach-
ing for ball which Dad al-
ready has monopolized. As
they exit. Son looks a little
displeased at Dad’s selfish-
ness.

19. Med. L. S. — Exterior
of home Dad and Son hav-
ing exited-Trom front door,
come down onto lawn and
then walk out to the street.

20. Med. L. S. — Street in
front of home. Dad with

ball kicks to Son. Son recov-
ers ball, clumsily, and re-
turns it to Dad.

From this point you may
take the story and arrange
the scenes as you desire. As
the story continues. Dad
monopolizes the football —
kicking it straight up over-
head and then rushing over
to make the catch as he
gently shoves Son out of the
way. The object is to show
Dad so enthused with the
new football as to forget it
belongs to Son.

As this continues. Son
sulks, and returns to the
house. Slumping dejectedly
to the floor near the Christ-
mas tree, he spies Dad’s
new Christmas necktie.
Taking it from the box, he
places it about his neck and
attempts to knot it in the
accepted fashion. Actually,
he ruins the shape of the
tie with a number of clum-
sy knots.

Then he spots Dad’s cig-
ars. Still sulking at Father
for monopolizing his foot-
ball, Son brazenly bites the
end of one of the cigars,
places it in his mouth, and
lights it.

Outside on the street. Dad
is having an exciting time.
A neighbor has joined him,
and together they are kick-
ing the ball, falling into
neighboring shrubbery and
flower gardens, etc. — which
should be shown in closeups
to reveal the telling effect
upon Dad : his shirt is torn ;
there are scratches on his
arms and face; and one of
the neighbors reprimands
him for mutilating his flow-
er bed. But he’s having fun !

Back in the house. Son is
attempting to retaliate for
Dad’s undue monopoly of
the football; is growing
sick from smoking the cig-
ar. Dad, too, is having
trouble. His neighboring
companion has just tackled
him hard, and when Dad
finally arises with some dif-
ficulty, it is revealed he has
flattened the football, which
by now has become some-
what ragged.

As Son is about to throw
away the cigar, there comes
a knock at the door. Moth-
er enters the room, and
perceives Son’s condition as

she opens the door. Dad,
with the aid of his neighbor
playmate staggers into the
house, and drops exhausted
into a chair. Son, now quite
ill, faints and falls at his
feet. Mother hurries to the
phone and calls the doctor.

The closing scene shows
Dad and Son in adjoining
twin beds — each with an ice
pack on their heads. Slow-
ly they turn to one another.
Dad painfully extends his
hand across to Son’s bed.
Son reaches for it feebly as
Dad says, with a faint
smile :

“Merry Christmas, Son!’’

A CHRISTMAS COINCIDENCE

“A Christmas Coinci-
dence,” an original scenario
by Leo Caloia of Los An-
geles, was also written with
a boy as principal character
but this may easily be
changed. The story theme
is so planned it is equally
applicable to a girl. There-
fore if little sister is big
enough to want a bicycle
for Christmas, then this
script is for her — provid-
ing brother does not offer
a stronger argument for the
part!

Other cast requirements
are Mother and Dad. Most
of the shots are indoors and
the same necessities for film
and lighting equipment ap-
ply as in the first scenario.

1. Close shot of Calendar.
The day is December 24,
the day before Christmas
(for this shot use a desk
type calendar, where indi-
vidual sheets are turned
over for each day) .

2. Med. shot of busy down-
town street corner showing
crowd of shoppers, etc.

3. Long shot of busy street
intersection showing heavy
Christmas traffic, street
cars, automobiles, pedes-
trians, etc.

4. Med. shot of Christmas
decorations over the street,
around lamp posts, etc.

5. Med. shot — People look-
ing at window displays of
toys, gifts, etc.

6. Med. shot — Interior of
dining room. Dinner has
just been finished. Mother,
father and Junior are
around table. Father is

• Continued on Page 584

MEMBERSHIP APPLICATION

Join Noiv^Qet
In Line For A

Producer

THE REEL FELLOWS

REEL FELLOWS
C O Home Movies
6060 Sunset Boulevard
Hollywood, Calif.

I am enclosing SI. 00 membership fee, for which please enroll me as a
member of the REEL FELLOWS emd send me membership card, gold pin, and
camera insignia.

I have been shooting movies (length of time)

My equipment is: 8mm 16mm

Name

Address

City State

Fellowship

The REEL FELLOWS is that friendly fraternity, sponsored exclusively by Home Movies. With
well over a thousand members already enrolled, REEL FELLOWS now roam from coast to
coast and from Canada to the Gulf — each with a gold RF emblem in his lapel, an RF insignia
on his camera and an RF identification card in his wallet which opens the friendly door
to all REEL FELLOW organizations everywhere. . . . Join the REEL FELLOWS now while
the membership stiU is only one dollar — the actual cost of production and mailing
your gold emblem, the insignia for your camera and your credentials. Not only
will you then be associated with the grandest bunch of movie amateurs that ever
clicked a cine camera — you'll double and treble your fun by sharing your ideas
with — and profiting by the experiences of — all other REEL FELLOWS. And
you'll be in direct line for recorded achievement through the registration
of your every effort. ... Be the first in your neighborhood to join and
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FELLOWS in your sectional community. From then on you stand
on your own record — and here's hoping you'll be the first to be
awarded a "Producer Fellowship'" in your particular locality.

Build for achievement. Take your hobby seriously and go
cifter the honors that are yours — through sheer merit.

Wherever you go — on
your vacation or over
week-end holidays —
look for this emblem!
On the cameras of
amateur cinematog-
raphers or gracing
their lapels, the Reel
Fellow insignia indi-
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amateur, whose friend-
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movie - making pleas-
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At present, there is
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low who has been
honored by having
his film selected as
the "Movie of the
Month," or has been
awarded four stars in
review, or has won a
prize in the Home
Movies annual con-
test, wears a gold
pin with a star be-
tween the initials
R^F.

PAGE 584

HOME MOVIES FOR DECEMBER

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smoking a pipe and reading
the newspaper. Mother is
knitting or sewing. Junior
is writing a letter.

7. Closeup of Junior with
end of pencil in mouth try-
ing to think of what to
write. Finally decides and
starts writing.

8. Titler shot of letter (the
end of the letter is photo-
graphed). It reads: “...
and don’t forget, Santa
Claus, the bicycle I want has
2 wheels, not 3 and the col-
or is green.” — Jimmie.

9. Closeup of Jimmie. He
starts talking to mother.

Title 1. “Mother, why
can’t I give this letter to
Santa Claus?”

10. Closeup of mother.
She says:

T ITLE 2. “Because, Jim-
mie, Santa Claus comes at
12 o’clock at night and you’ll
be asleep.”

11. Close shot of father.
Lowers and looks uneasily
over newspaper at Jimmie
and then continues reading.

12. Med. shot — Jimmie
hands letter to mother, then
walks out of room to kitch-
en.

13. Med. shot — Jimmie en-
ters kitchen. Looks back,
then goes to where an alarm
clock is kept; winds clock
and sets alarm (The clock
used in this scene should be
one where the alarm bell is
on top of the clock) .

14. Close shot of clock in
Jimmie’s hands; he sets the
alarm to ring at 12 o’clock
that night. Fade Out.

15. Med. shot — Fade In
— Santa Claus comes into
the living room and starts
to deposit presents and gifts
around the Christmas tree ;
he has a bicycle over one
shoulder; a single stocking
is over the fireplace.

16. Close shot of Jimmie
asleep in his bedroom.

17. Close shot of Santa
Claus placing toys and
packages around tree.

18. Close shot of clock in
kitchen ; it is 12 o’clock and
the alarm is ringing.

19. Short med. shot of
Santa Claus straightening
up as he hears the alarm.

20. Closeup — Jimmie
awakens, sits up, then
jumps out of bed.

21. Med. shot — Jimmie
jumping out of bed and run-
ning toward living room.

22. Closeup^ Jimmie en-
ters living room and sees
Santa Claus; he is speech-
less and amazed to actually
see a real live Santa Claus.

23. Med. shot- — -Santa
Claus is also speechless. He
is looking around for a
place to escape. Looks to-
ward fireplace.

24. Close shot of fireplace ;
the fire has died down,
leaving ashes and soot.

25. Rear med. shot — Jim-
mie walks toward Santa
Claus. Santa Claus drops
remaining gifts and runs to
fireplace, drops to knees
and starts to crawl up fire-
place.

26. Closeup — Jimmie
stops, wide eyed and start-
led. He stares at fireplace.

27. Close shot of fireplace.
Santa Claus has disap-
peared.

28. Close shot — Santa
Claus coming out of chim-
ney. His face and beard is
all black with soot. He looks
down chimney and wipes
his brow — “that was a nar-
row escape!” Fade Out.
(The chimney can be made
out of light wood or card-
board, covered with decora-
tive red brick tissue paper
and filmed from a low angle
with Santa Claus against
the sky. This will give the
effect of the chimney being
on the roof.)

29. Med. shot — Fade In.
It is Christmas morn-
ing. Mother and father and
other members of the fam-

ily are around the Christ-
mas tree opening gifts, etc.
Jimmie is admiring his new
bicycle.

30. Closeup of Jimmie ad-
miring new bicycle; turns
to mother and says :

Title 3. “Mother, you
know what? Santa Claus is
a skinny man just like
father.”

31. Closeup of mother ; she
registers surprise and looks
toward father.

32. Closeup of father. He
turns and looks toward
mother; slowly grins and
winks his eye. Fade Out.

THE end

Note: The night scene of
Santa Claus coming out of
the chimney may be taken
as follows:

Black and white film :

1. On a bright day shoot
the scene at fl6, or

2. Underexpose and dye
film either green or dark
blue, or

3. Shoot scene at regular
exposure, plus a dark red,
orange or yellow filter (do
not compensate for filter) .

For color film:

1. Use Type A color film
(which is the film used for
artificial light) in sunlight
with blue cellophane in
front of the lens (do not
compensate for cellophane) .
This will give a moonlight
effect.

Put aia

glamour in

Continued from Page 574

most scenes of persons or
pbjects are filmed in close-
up. And it is for this rea-
son that advisors to the be-
ginning amateur stress
most frequently this point.
One has only to look at his
own movies to see for him-
self that it is the closeups
which pack the most in-
terest.

This being an established
fact, then why not devote a
little more care to the sub-
ject of our closeup? If we
can enhance a feminine face
with more studied and care-
ful lighting, the addition of
makeup, or a special cam-
era angle, who not do so?
All of these elements are
easily within our reach.

Perhaps the most influen-
tial element in closeup pho-
tography is lighting, and in
our discussion of the sub-
ject we shall speak of the
filming of persons — in this
case, a young woman. In

to cioSeupA

order to emphasize her
charm and beauty to the
fullest, her features must
be properly lighted. If she
possesses too hollow cheeks,
a too prominent nose or
forehead, these features can
be subdued to some extent
by correct placement of
lights. And if filming is to
be done out of doors, then
proper lighting can be
achieved by placing subject
so sunlight falls correctly
on her face and hair. A re-
quirement, of course, for
the ultimate in this work is
one or more spotlights for
indoor filming and one or
two good sunlight reflectors
for use in filming out of
doors to augment the direct
lighting source.

As yet, few amateurs rec-
ognize the value of diffus-
ers. Placed in front of pho-
tofloods, they soften the
harsh light of these lamps
for closeups. Diffusers are

HOME MOVIES FOR DECEMBER

PAGE 585

j always used in professional
I cinematography and any
I amateur can make them for
J his photoflood reflectors
j from a sheet of draftsman’s
I tracing cloth. A square of
' this material affixed to a
I frame and hung three or
four inches away in front
' of the reflector will provide
good diffusion.

□ unlight reflectors for
outdoor photography can be
made from squares of wall-
board or plyboard, coated
with aluminum paint or
foil. Such reflectors, prop-
erly placed about the exte-
rior set, reflect sunlight in-
to the scene or face of sub-
ject to eliminate shadows
or provide highlights or
backlighting. And frequent-
ly such reflectors are used
in indoor photography, in
place of a photoflood, to
supply subdued light to a
subject’s features in close-
ups.

Pictured at the beginning
of this article are a series
of photos showing the dif-
ferent results achieved by
various light source place-
ments. Fig. 1 shows the re-
sult where one photoflood
is used as a basic light.
Placed high, it simulates
the sunlight of out of doors.
Making this shot out of
doors with the sun high
over the subject’s right
shoulder would produce the
same effect. Obviously, it is
not pleasing because of too
heavy shadows on subject’s
left cheek.

Fig. 2 shows result of in-
troducing a secondary light
or reflector into the scene.
If it is a second photoflood,
it would be placed some-
what farther away than the
first light — just enough to
break the shadows and soft-
ly light subject’s face. Out-
doors, a reflector would be
used to cast sunlight into
subject’s face. Properly
done, reflector should be el-
evated, rather than placed
on the ground, so that the
reflected light would come
from a more natural angle.

Fig. 3 shows result sim-
ilar to that of Fig. 2, but
with the secondary light
more intense. This would
be a better lighting condi-
tion where Kodachrome
film is to be used as color
film requires a more even
lighting than docs black and
white. With the latter, some
color is achieved in the
composition by building a
tonal range with the aid of
multiple light sources.

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PAGE 586

HOME MOVIES FOR DECEMBER

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Fig. 4 illustrates the ap-
proach to good lighting
composition. Another light
has been added to supply
highlight on the hair and on
one side of the face, thus
lending a third-dimensional
effect and imparting a more
natural appearance to the
scene. Where a spotlight is
not available, a photoflood
in reflector will serve the
purpose for supplying the
highlight and it should not
be placed too close to sub-
ject so that its intensity
overbalances that of the

principle lights. On an ex-
terior closeup shot, this
highlights can be supplied
by an elevated reflector or
a mirror. Whether photo-
floods, spotlights, or reflec-
tors are employed, they
should be carefully moved
about the subject until the
most desirable lighting is
effected.

Fig. 5 shows still another
application of the highlight,
producing a rim or halo of
light only on subject’s hair.
The main lighting, of course,
remains the same.

While we have dealt with
the closeup in the foregoing
examples, the technique is
by no means limited to the
filming of closeups. It can,
in fact should, be employed
in lighting subjects in me-
dium and long shots as well.
Groups, of course, require
more lights than does a sin-
gle person in a scene and
for this reason a study of
lighting a single person is
essential — and decidedly
easier — before lighting of
groups can be understood.

rJHet 6 pian C^L^*idtmaS eari^

• Continued from Page 565

over the countenances of
the children as they enter
the living room and see
their toys about the gaily
decorated tree. Better plan
these shots carefully, set-
ting up lights the night be-
fore and calculating expo-
sures and focus. Thus you’ll
not miss those spontaneous,
natural expressions that
never can be captured in
staging the scene after nov-
elty and freshness of the
toys wear off.

If Dad does all the shoot-
ing, of course he’ll be no-
ticeably absent in this
Christmas movie. Some
plan should be made for his
appearance in the picture,
and if you’re the Dad, you’ll
probably see that a part for
you is included in your un-
written shooting plans. One
filmer of an interesting yule
movie arranged for his wife
to shoot scenes days later
which provided an unusual
ending to his picture. These
scenes show him seated at
his desk, writing checks to
cover Christmas purchases.
Bills are stacked high and
his checkbook is open be-
fore him. He looks per-
plexed as he tries to figure
how his remaining funds
can be stretched to cover all
bills. He turns to look at
the toys beneath the tree. A
smile creeps over his face
and then he turns to a note
lying on his desk. A close-
up reveals text of the note :
“Dear Santa — Thanks for
everything. — Diane.” He
smiles, resuines writing
checks, and the scene fades
out.

Another amateur’s holi-
day picture began with

scenes showing a Christmas
wreath being hung on the
door of his home, decora-
tions being strung about
the rooms, and then trim-
ming of the tree — all to es-
tablish the theme of Christ-
mas. Then Mother and Dad
were pictured wrapping
gifts and assembling them
about the tree. There were
shots showing the children
in bed, then awakening as
they heard Santa arrive.

Tiptoeing downstairs, the
children attempt to spy on

Santa (their father in the
usual Saint Nick costume)
when he suddenly appears
behind them and sends
them off to bed with a
warning against spying.
The following morning a
series of shots were made
of each member of the
family opening and inspect-
ing their gifts. The high-
lights in this sequence were
the excellent closeups made
of each individual with his
or her gift : there were
chubby hands trying on a

Movie of the Month

• Each month the editors of
HOME MOVIES select the best
picture sent in for analysis and
designate it "The Movie of the
Month." This movie is given a de-
tailed review and a special leader
is awarded the maker.

This award does not affect the
eligibility of such films for entry In
the annual HOME MOVIES CON-
TEST. They are automatically en-
tered for rejudging with those films
submitted especially for the annual
contest. Films awarded the honor
of MOVIE OF THE MONTH dur-
ing the past 12 months are:

1941

JANUARY: "Three-V/ishes" pro-
duced by Earl Cochran, Colorado
Springs, Colorado. An 8mm Koda-
chrome picture, 125 feet in length.

FEBRUARY; "Happy Landing,"
produced by Mildred Caldwell,
Long Beach, Calif. An 8mm Koda-
chrome picture, approximately 400
feet in length.

MARCH: "Home Town," pro-
duced by West W. Champion,
Fresno, Calif. A 16mm picture,

1 600 feet In length.

APRIL: "Fledglings," produced
by Dudley Porter, Beverly Hills,
Calif. An 8mm Kodachrome pic-
ture, 150 feet in length.

MAY: "A Pain in the Night,"
produced by Rev. Raymond G.
Helsel, Elmira, N. Y. An 8mm
Kodachrome picture, 125 feet in
length.

JUNE: "Tropical Ecstasy," pro-
duced by Dr. Roy L. Serstenkorn,
Beverly Hills, Calif. A 16mm Ko-
dachrome production, 350 feet in
length.

J U LY : "Within These Hills,"
produced by J. Glenn Mitchell,
Joplin, Missouri. A 16mm Koda-
chrome picture, 800 feet in length,
with sound on disc recording.

AUGUST: "Dedication," pro-
duced by Alex W. Morgan, Toledo,
Ohio. An 8mm Kodachrome pic-
ture, 400 feet in length.

SEPTEMBER: "Through the Win-
dow Pane," produced by Mrs. War-
ner Seely, Cleveland, Ohio. A
16mm Kodachrome picture 400
feet in length.

OCTOBER: "Cock and Bull
Stories," produced by J. O. Mc-
Cracken, Glendale, Calif. An 8mm
Kodachrome picture, 300 feet in
length.

DECEMBER; "Do It Again,
Harry," produced by Herman Bar-
tel, New Rochelle, New York. A
16mm Kodachrome picture, 800
feet in length.

HOME MOVIES FOR DECEMBER

PAGE 587

pair of snug, wooly gloves;
another pair of hands put-
ting a wooly bedroom slip-
per on a chubby foot; Dad
gazing appreciatively at his
gift tie, and Mother ador-
ing a gleaming set of new
silver.

This simple but effective
technique succeeded in pic-
turing, naturally, each
member of the family, plus
one or more of the gifts
each received. The picture
was concluded with appro-
priate scenes of the little
family gathered around the
piano that evening, singing
Christmas Carols.

If there are no children
in the family, our movie, of
course, will center on
grownups, calling for a bit
different treatment. The
usual routine of dressing
the tree, wrapping gifts,
etc., can be followed. Then
there’s the food — the big
Christmas dinner that can
be pictured in preparation
— and in the consumption.
Clever little comedy twists
can be injected into the ac-
tion to make it lively such
as picturing one of our
guests as a glutton — alter-
nately reaching for another
piece of turkey and then let-
ting out his belt a notch
further; a guest busying
himself with a puzzle while
the party or dinner pro-
ceeds; or of Dad, trying to
swap the box of cigars
Mother gave him for an-
other guest’s gift necktie.

Close the picture with
shots of you and the missus
bidding guests good bye ;
surveying the mess of gift
wrappings, boxes, etc.,
about the tree after they
depart; then as you both
slump exhausted on the di-
van, your wife picks up one
of her gifts again and ex-
amines the card. A closeup
reveals it is from you. She
embraces and thanks you —
with a kiss — as the picture
ends. These last scenes, of
course, call for the aid of a
friend to handle the camera.

Being technically pre-
pared for shooting the
Christmas movie is, of
course, extremely impor-
tant. There must be ample
film. So in case we’re not
sure that Santa has a sup-
ply for us on his list, best
thing is to buy a supply in
advance. Will it be Koda-
chrome or black and white ?
This will depend upon limi-
tations of our camera and
our lighting equipment. If

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PAGE 588

HOME MOVIES FOR DECEMBER

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our camera i.s fitted with a
fast lens and we have at
least two good reflectors
fitted with Photofloods, then
we’re all set for Koda-
chrome. But if there’s any
doubt about indoor light
conditions or the ability of
our camera to make good
exposures indoors with the
lighting we have, then it
will be better to use one of
the Super-Speed black and
white films. If it’s to be
Kodachrome, use type “A.”
It’s faster and better in-
doors, costs no more, and if
we want to use it outdoors
for some exterior shots, we
can do so by using the regu-
lar color balancing filter
over our lens.

Light is next in impor-
tance. If Kodachrome is to

• Continued from Page 575

bearers, then the bride and
her father. Through an-
other door, the minister en-
ters, followed by the groom
and best man.

The ceremony is com-
pleted with the minister ad-
ministering the vows, the
husband placing ring upon
the bride’s finger and the
climactic embrace. Scenes
showing hands playing the
piano and guests singing,
indicate conclusion of the
ceremony. This is climaxed
by a closeup of the bride
and groom kissing again,
emphasized by a closeup of
the bride’s feet — showing
her on tiptoe as she receives
the kiss.

There are scenes of the
reception and many close
shots revealing the many
pretty and useful gifts the
couple received for wedding
presents. The picture closes
with a closeup of the couple
together eating a huge slice
of the wedding cake.

Photography: Exposure
was of good average qual-
ity. Just a few shots were
marred by flat lighting.
Otherwise most of the
scenes were well handled
photographically with cam-
era steady and focus good
at all times. Camera was
kept close with result that
most shots were medium or
closeup in cliaracter, lend-
ing increased interest to the
picture.

Editing: Outstanding fea-
ture of this picture is the

be used, don’t count on
lighting interiors partly by
daylight coming through
windows and partly by Pho-
tofloods. Bad results will
follow if you do. Photo-
floods are inexpensive and
the necessary reflectors can
be had — those paper ones
made by Eastman — for 20
cents a pair.

Focusing is another item.
If yours is a focusing cam-
era, it will be very impor-
tant that you do focus for
indoor shots because they
are made at wide aper-
tures with very little depth
of focus. Do not use the
“Universal” focus setting
of the camera lens for in-
door shots, but gauge focus-
ing with the same care that
would be given to exposure.

or review

editing. All scenes were
kept brief enough to pre-
vent any lag of interest and
the nice assortment of
closeup shots enabled this
filmer to do a better job,
editorially, than might have
been possible without them.

Titling: Titles were few
but good. Subtitles were
sufficient in number.

Remarks: Obviously this
entire picture was filmed in
a rehearsal of the wedding,
which permitted the filmer
to do a better job than if he
were hampered by conven-
tion in attempting to make
shots of the actual cere-
mony. Too, with leisure to
spare, it was possible to
study composition and plan
the many closeup and angle
shots which predominate
in this film. It is an excep-
tionally fine record which
should prove invaluable to
the filmer and the couple
whose wedding memories it
will preserve indefinitely.

"SEA CITY" ★★★

1 50 feet 8 mm. Kodachrome — By R. C. C.

Continuity: Recording
graphically a trip by clipper
plane to Cuba, this picture
opens with a long shot
showing passengers em-
barking on the plane, and
of the plane taking off. Fol-
lowing this is a sequence of
interesting cloud shots tak-
en from the plane while in
flight.

Arrival in Havana is in-
dicated by long shots show-
ing Morro Castle in the dis-

An important accessory is
a wide angle lens for indoor
shots at Christmas time, for
the regular one - inch or
half-inch lens will not take
in large groups in rooms of
small homes. For this rea-
son it is highly important
to plan shooting in series of
closeups and medium close-
up shots.

One reason planning the
Christmas movie in advance
is so important is that it
permits making shots with
the least possible interrup-
tion of other activities of
the day. Plotting the Christ-
mas film now will mean
more time to enjoy the holi-
day festivities — and cer-
tainly it will mean a more
interesting and successful
picture.

• • •

tance, then the harbor and
finally the disembarkation.
The film proceeds to show
the many interesting high-
lights of the city of Havana
and of the surrounding
country. The picture con-
cludes with several closeup
shots of a cock fight.

Photography : Aerial shots
well exposed and balance of
photography was marked
by a steady camera and
good composition.

Editing: Take-off of plane
requires too much footage.
This episode can be short-
ened to advantage. Cloud
sequence, interesting as it
is, can also be shortened.
The shots of the cock fight
have no apparent relation
to the rest of the film and
they should be deleted —
held for cutting-in with
some other reel of general
subjects.

Titling: Unfortunately de-
scriptive subtitles are lack-
ing which detract much
from the otherwise good
quality of this picture.

CORRECTION

In the advertisement tor Holly-
wood Film Enterprises appearing
in the November issue, film sub-
ject No. 21-A was erroneously de-
scribed as "300 ft. 16 mm., $3.00."
This subject in 16 mm. width is
available in lengths of 100 feet in-
stead of 300 feet as erroneously
printed, at the price of $3.00. We
regret any inconvenience caused
readers by this typographical error.

HOME MOVIES FOR DECEMBER

PAGE 589

Exposure (George J. St.
John, Omaha, Nebr.)

Q. I am just a beginner
in making amateur movies,
have no exposure meter as
yet and have been shooting
pictures according to the
exposure chart attached to
side of my camera. Some-
times results are good,
sometimes bad. Last roll I
shot was of ottr children
and scenes were made in
various parts of our garden.
In some scenes facial fea-
tures are very good, in oth-
ers deep shadows predomi-
nate although I used the
same exposure for all as
light conditions were the
same during the entire
afternoon. What is my
trouble ?

A. All average exposure
instructions, such as those
appearing on the chart at-
tached to your camera, are
based upon midday light —
that is, between 9 A. M. and
4 P.M. Before and after
these hours, an allowance
must be made for weaker
light. Your trouble seems
to be that you did not take
into account the matter of
front, side, or back lighting.
If you shot a closeup of one
child at f/11 when the sun
is playing full upon her
with the light coming from
behind you, the same ex-
posure would not be correct
if you were to make a simi-
lar closeup shot with the
light striking your subject
from the side. For this is
where the shadows occur
and increased exposure
would be necessary to bring
out the detail in those shad-
ows. Opening up to f/8, in
this instance, would correct
your exposure.

Also, if you are shooting
at f/11 beginning at 2:30
in the afternoon and shoot-
ing continues until 4 :30,
some compensation must be
made for the diminishing
quantity of late afternoon
sunlight. Lens must be
opened up about one stop to
correct exposure.

Enlargements (Arthur
Eldredge, Colorado Springs,
Colo.)

• Readers: This department
is for your benefit. Send in
your problems and our tech'
nical board of professional
cameramen will answer your
question in these columns. If
an answer by mail is desired,
enclose addressed stamped
envelope.

Q. I recently purchased
an Eastman enlarger for
making enlarged still pic-
tures of single frames of
16mm. film. Hoivever, I do
not seem to be able to get
my exposures just right
even thcnigh I’ve followed
pHyited instructions.

A. Having used this same
enlarger with success, we
found that by using a No. 1
Photoflood in a desk lamp
fitted with a reflector and
held a distance of six inches
from the enlarger lens in
making an exposure, good
results are assured when
exposure time is 15 seconds
for Kodachrome and 12 sec-
onds for black and white
Aims.

Film Scratch (Kelton Mc-
Namee, Kenosha, Wise.)

Q. My last roll of Koda-
chroyne, just returned f rom
the processors, shows a con-
tinuous scratch - line run-
ning down the center of the
fidl length of the film. I
thought this was caused in
processing but friends tell
me Kodachrome processing
is absolutely scratchproof .
Then we checked my pro-
jector ivith a length of raw
film stock but found no
scratching residted from
this source. Can you sug-
gest what caused this
trouble ?

A. Possible cause may lie
within your camera. Would
suggest you examine the
aperture in the film gate
very minutely. You will
undoubtedly find that par-
ticles of raw emulsion have
lodged there, become hard,
and formed a minute lump
which built up as it scratch-
ed additional emulsion from
your roll of Kodachrome as
it was being exposed.

The New
“Super D”
Graflex

The built-in open-flash synchronization, for example, gives the photographer
opportunity to use his Super D Graflex with any of the current flash bulbs or
with the high-speed Kodatron lamps.

The Super D Graflex x is regularly supplied with a 6J^-inch Kodak
Anastigmat //4.5 lens in standard barrel mount. Ask your dealer for all the
news about this camera. There’s plenty of it, all good.

Graflex and Graphic Cameras are made by the Folmer Graflex Corporation

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PAGE 590

HOME MOVIES FOR DECEMBER

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Please send me one complete title, along
with the complete list of titles, for which I
enclose the amount checked below.

8mm size .
16mm size

25c 5 — 8mm size . . $1.00

35c 5 — 16mm size . 1.50

CITY STATE..

LUMINITE FILM PRODUCTS

Suite 600, 408 S. Spring St., Los Angeles, Calif.

If you find this to be the
case, take great care in re-
moving the accumulated
emulsion. Do NOT use any
metal instrument to dis-
lodge it. Use a soft wood-
en stick. Better yet, wrap
end of stick with cotton and
moisten in acetone. Acetone
will dissolve the emulsion,
make its easier removal.

Dolly Shots (j c. Hem-
ingway, Vancouver, B. C.)

Q. The scenario I am
about to film calls for tivo
or three dolly shots. The
dolly I intend to build my-
self, using small rubber
balloon tired loheels. Can
you tell me ivhere these
wheels and tires may be
purchased?

A. Such tires and wheels
are usually available from
stores specializing in bi-
cycles, velocipedes, and
wheel goods for children
and there is undoubtedly
one in your town. Also,
most of the big rubber com-
panies such as Goodyear
and Firestone can provide
these wheels and tires.

However, why don’t you
take a short cut — borrow a
child’s rubber tired toy
wagon and use this for your
camera dolly? It will save
you a lot of needless work
and possible delay in your
production.

Tracks for the dolly may
be constructed from two-
by-fours with pieces of
1" X 1" material properly
spaced and nailed to form
the track or groove in
which the wheels will ride.

IVocturnal Shuts (Walter
J. Shumway, Niagara Falls,
N. Y.)

Q. I plan to make some
shots out of doors at night
for ivhich I shall need arti-
ficial illumination. How-
ever, I shall be unable to
get sufficient cable to en-
able me to use photoflood
lamps. Is there any tvay I
can compensate for light
coming into the scene from
great distance by increas-
ing exposure or shooting in
sloiv motion? Any sugges-
tions ivill be appreciated.

A. Why don’t you use
flares for lighting your
night-time scenes? Magne-
sium flares are obtainable
from most Eastman Kodak
stores, and In larger cities
from fireworks manufac-
turers. These flares are
manufactured in various
sizes depending upon time

they are to burn, i.e., 1 min-
ute, 2 minutes, etc.

One precaution must be
kept in mind : place the
flares on the leeward side
of your scene so that the
wind or air currents will

carry the smoke away from
the scene.

A single one-minute flare
is usually ample to light up
a large scene when using
ordinary pan or Koda-
chrome film.

fi(mi

min^

interiors . . .

• Continued from Page 572

the vast interiors success-
fully, demanded that the
technique of the successful
filmers be revealed. The
leader of the group who
made the picture was sin-
gled out and questioned.

“A good magician never
reveals his tricks,” he be-
gan. “But frankly, our
group is a little amazed that
some of you didn’t think of
the trick we employed. But,
a greater compliment to us,
though, that you did not,
for when a bunch of active
camera hounds can’t figure
it out, it shows we really
did a good job.”

“Frankly,” he went on,
“we didn’t use any more
light on those interiors than
you did. Wliat we did do
was to make good still pic-
tures of the interiors — time
exposures that enabled us to
capture overall detail — and
then photographed these
still shots with movie cam-
era and titler.”

“Yes, but how about that
pan shot of the ceiling?”
queried one.

“We made that picture
slightly larger than the
others,” was the reply, “and
moved it slowly from one
side to the other in front of
the movie camera as it was
being filmed.”

“But you had people in
some of those shots,” said
another.

“No, there were no people
in any of those ‘still’ shots.
We made you think there
were by close and careful
cutting. When the people
walked to the front of the
auditorium, we used ordi-
nary photoflood lighting for
the shot and filmed this ac-
tion with the movie camera.
If you will remember, we
did not show any back-
ground in these scenes. The
people were photographed
from above or next to a
wall. When these shots were
spliced in between the in-
terior shots, they gave a
very realistic appearance to
them, suggesting the people

were present in all the
the scene.

Had the movie in question
been filmed in Kodachrome,
the same procedure could
have been followed. But
instead of the still photo-
graphs, Kodachrome trans-
parencies would first have
been made and these in turn
filmed with movie camera
and titler, with the trans-
parency lighted from the
rear.

The procedure which
made this movie of an audi-
torium successful need not
be confined alone to shoot-
ing ill-lighted interiors. Any
scene too dark to photo-
graph with available light
can be handled in this way.
Of course, such scenes must
not contain motion or the
illusion fails. Other scenes
to which this process is ap-
plicable would be night
snow scenes, night exteriors
of homes decorated with
Christmas lights, etc.

A Christmas continuity,
for example, might call for
a person to go to the win-
dow and peer out for an
expected visitor. The fol-
lowing shot would be that
of a still of a night exterior
— indicating the scene
viewed through the window.

Another instance would
be where a shot of the sky-
line of a city at night would
be desired. The same pro-
cess could be employed. In
fact such a shot could be
made even more real by
shooting it a single frame
at a time a.iid flashing lights
behind some of the windows
cut out of the picture to
give the illusion of lights
being flashed off or on in
distant buildings.

HOME MOVIES FOR DECEMBER

PAGE 591

•Tim mouBiTs-

By GEORGE W. CUSHMAN

If you have any ques-
tions pertaining to titles or
title-making, Mr. Cushman
will be glad to answer them.
Address him in care of
Home Movies or his resi-
dence, 5004 Stanton Ave-
nue, Ames, Iowa. In ex-
plaining your title troubles,
include information such as
type of equipment used,
film, light source, and
where possible, send along
a sample of the title film.
Enclose a self - addressed
stamped envelope if you
wish an early reply.

Q. How may shadows on
letters he 'produced tvhe7i
making titles direct on posi-
tive film. — L. K. H., Brook-
lyn, N. Y.

A. It may take sometime
for you to learn how to
make shadows “in reverse”
so to speak, although there
is no reason why it cannot
be done. Remember that
light values in making di-
rect positive titles are just
reversed. Consequently, if
you want a black shadow,
the shadow area must be
made whiter than the title
card. If I were doing it, I
believe I would have a pho-
tostat made of the title, put
in the shadowing exactly as
I wanted it to show in the
finished title then either
photograph it on reversal
film, or make another pho-
tostat and photograph di-
rect.

Q. The titles I spliced into
my Kodachrome film re-
cently are out of focus when
I pr'oject the film. Both pro-
ject with the emulsion side
towards the lens, the pres-
sure gate is 07i the shiny
side of film, yet re-focusing
is necessary. What can be
the trouble? — L. K., San
Francisco, Ccdif.

A. This is not the first
time this question has come
to this department, and I
am not yet convinced as to
what the real cause may be.
For this reason I am print-
ing your question with the
request that any of our
readers who have experi-
enced this problem and have
arrived at the cause of the

trouble will send me this in-
formation so that I may
pass it on to you.

The best theory to date
seems to be that the title is
on fresh film, not thorough-
ly dry and therefore slight-
ly curled or bowed. It is
spliced in with older film
which has dried more thor-
oughly and is flatter. The
film gate, being none too
strong, does not have
enough pressure to over-
come this slight curl and as
a result the film backs away
from the plane focused up-
on and a small adjustment
of the lens becomes neces-
sary. In such cases, when
the film is being projected
with the emulsion side to-
wards the lens, the lens will
have to be adjusted back-
wards when the title ap-
pears.

This theory is partly sup-
ported by one reader who
was kind enough to write in
saying that he had experi-
enced this trouble when he
first made some titles six
months ago, but that upon
projecting this same film
recently, the trouble had
disappeared. This would
tend to show that the fresh
film was slightly bowed or
arched, but flattened out
months later.

However, we would ap-
preciate anyone who can
shed further light on this
problem to send us his con-
victions so that the solution
can be passed on to others
at a future date.

Q. The enclosed title teas
made by copying a 35 mm.
Kodachrome transparency,
rewmding the film, and
then exposing the white let-
ters. However, the letters
barely shoiv. Why don’t
they stand out better? — T.
B. M., Alameda, Calif.

A. The reason they do not
stand out better is because
your background is too
light. Not that it is over-
exposed, but the back-
ground subject contains too
much white.

A darker background
would give more pleasing
results. If this background
must be used, it should be
given much less exposure if

NEW! DIFFERENT!

MAGNETIC TITLE LETTERS

HAMILTON DWIGHT CO.

EASY TO USE • NO PINS • NO ADHESIVES

Quixet Letters are made of plastic and are equipped v/ith powerful
"Alnico" magnets that are guaranteed to retain their magnetic
properties for ten years. Quixet Letters will hold firmly to
any iron or steel surface, through paper, cloth, photoprints.
For Black & White and Kodachrome Titles.

REGULAR 5 8" SETS

91 White Letters, lOxH Black Panel $11.00

91 Red Letters, 9x12 Blue/Green Panel.... 13.50

DE LUXE 5/8" SETS

150 White Letters & Nos., Black Panel $18.00

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Also available in I" and d/2 " size letters

ci/ your dealer, or order direct from

AMERICAN

PLASTIC

REEL

Transparent Plastic

Decided improvement over metal
reels which are now halted by
priorities. The new AMERICAN
Plastic Reel is of enduring trans-
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get out of order. Light, smooth,
true-running, noiseless.

8mm. and 16mm. Films

Sizes: 200 and 300 ft. 8mm. Films; 400 ft. 16mm. Films

Three slots In hub for conventional threading. Hitches and overruns elimi-
nated by lighter, smoother material. No drag on spring or motor. No
wedging. EXCLUSIVE FEATURE holds film to hub for quicker and easier
threading without using slot. Instantly readable scale, etched on spoke,
shows footage of film on reel at any point.

See this NEW American Plastic Reel at your dealer,
or write us for Information.

AMERICAN MOLDED PRODUCTS CO.

1751 North Honore Street Chicago, Illinois

PAGE 592

HOME MOVIES FOR DECEMBER

GOERZ 1

KINO-HYPAR
LENSES

J:2.7 andf:3

For regular and color
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Focal lengths 15mm to lOOmm — can be fitted
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GOERZ Reflex FOCUSER |

— Patented — I

For 16mm Movie Cameras — voids PARALLAX j
between finder and lens — provides full-size j
ground-glass image magnified 10 times. Adapt- *
able to lenses 3" and up. Also useful as ex- |
tension tube for shorter focus lenses for close- !
ups. Extensively used in shooting surgical op- |

erations, small animal life, etc. I

GOERZ Parallax-Free FOCUSER {
and FIELD FINDER CONTROL |

No more off-center pictures, for Filmo 121 and i
Simplex-Pockette magnifies 4 and 8x. |

For Detailed Information Address I

Dept. HM-12 !

C. P. Goerz American Optical Co. |

317 East 34th St., New York !

American LensMalters Since1899

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THE KIT CONTAINS:

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Fits practically all 8mm and some (6mm Cameras
Individual Filters Without Kit Available:
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31 to 41 and Ser. "VT
42 to 51 and Ser. VII

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TYPE A

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31 to 41 and Ser. \ I

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52 to 75

76 to 100

Over 100 to 130

KODACHROME HAZE

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At Your Dealer or

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Complete Discussion on Photography Through
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FOR HOME MOVIES

A complete film rental library, with a varied
selection of 16 mm. sound and silent — and
8 mm. reels, including cartoons in COLOR.
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ouieS

the white letters double ex-
posed over it are to stand
out at all.

The background will then
be quite dark with some de-
ficiency in definition and
color rendition, but since it
is a background for a title,
maximum contrast is to be
preferred to correctness of
color. If it is desired to in-
clude the scene in the film
in its correct color values
another shot might be made
of it without the wording.
Even better, would be to
underexpose the back-
ground for the length of the
title, then open up to the
correct exposure as the title
fades out completely.

Q. Can negative film,
stick as panchromatic, be
used for title making, and
be developed to a negative
only instead of reversing?
— B. G. C., Lima, Ohio.

A. Yes, providing the
density of the film base is
not too great. Many nega-
tive films are made with a
heavy grey base, and this
does not contribute towards
clear white letters. Any film
can be used if the color of
the film base is satisfactory
to the user.

Q. I have heard that a red
card with blue lettering can
be made to photograph
white on black or black on
white when panchromatic
film is used in the camera.
Is this so, and how does it
work? — L. M., Hot Springs,
Ark.

A. Yes, this is true, and
is accomplished with color-
ed light. It can be seen with
the eye and doesn’t have to
be photographed to get the
effect. Assuming that the
card is red and the lettering
blue, hold a blue filter up to
the eye (or in front of the
camera lens) or actually
use blue light. The letters
will appear white and the
card black.

When a red filter is used,
or red light for illumina-
tion, the lettering will ap-
pear black and the card
white. When exposures are
made under such conditions
a tremendous increase is
necessary since the filter
absorbs much of the light.
Each filter has what is
known as aTfactor of expo-
sure increase, and this must
be calculated carefully if
the correct exposure is to
result.

o Continued from Page 567

foregoing pointers, care-
fully followed will net an
interesting picture. Do you
plan to take your camera to
the ski meet? To the ice
rink? Follow these basic in-
structions and you’ll get
good pictures.

Filming skiers success-
fully requires a great deal

TUESDAY
DECEMBER 23rd
IS THE DATE

The long heralded
hroadcast by television
of important prize win-
ning films in HOME
MOVIES’ 1941 ama-
teur contest will take
place Tuesday evening,
December 23rd, begin-
ning at 7 P. M. over the
Don Lee Television sta-
tion, W6XAO located
in Hollywood, Calif.

Interested west coast
amateurs living within
radius of station
W6XAO are urged to
locate private or public
television receivers and
arrange to be present
before them when this
momentous visual air
show takes place. Your
radio dealer can advise
location of television
receivers in your vicin-
ity.

Prize films selected
for their adaptability to
television are Glenn
Mitchell’s “Within
These Hills,” Raymond
Fosholdt’s “Father’s
Time,” and Erma Nie-
dermeyer’s “It Runs
in the Family” — all
16 mm. films.

Telecasting of these
prize amateur movies
is to he a special fea-
ture of the big super
television show mark-
ing the tenth anniver-
sary of Don Lee Tele-
vision System and hon-
oring Don Lee, its
founder, and Harry
Lubcke, chief engineer.

Remember the date —
Tu esday, D ecember
23rd, 7 P. M.

of planning and advance
survey of the terrain over
which the skiers will per-
form. Those who admire the
thrilling ski pictures often
seen on theater screens can
duplicate these shots by first
scouting good positions and
then arranging in advance
for the skiers to traverse the
ski trail according to sig-
nals to be given by you or
an assistant. By good cam-
era position is meant one
which gives the proper
lighting to the scene and
skiers and at the same time
affords the proper terrain
for the kind of thrilling ski
action desired.

Shooting skating pictures
at lake or pond will prove
far more interesting if a
sturdy sled is made avail-
able for a camera dolly.
With tripod and camera
rigidly mounted — tied firm-
ly to the sled — you and the
camera can be moved about
by an assistant to follow the
skaters in fancy skating or
hockey events. And remem-
ber the many elevated shots
seen in Sonja Heine skating
episodes? Take a tip from
the professionals and get
some high shots of skaters,
too, from an elevated posi-
tion— a tree or rooftop.

W ith black and white
film, a filter is imperative
for snow and ice photog-
raphy. Two things will be
greatly enhanced — the sky,
providing it is blue and not
overcast, and the snow tex-
ture, shadows of which are
bluish. Any of the follow-
ing filters may be used with
good success : the yellow
K 1 or K-2, the yellow-
green X-1 or Aero-1, and
the red A. If the sky is clear
blue, the red filter may give
too black a sky, although
greater contrast between
sky and clouds will be pro-
duced with this filter.

Snow filming may pro-
vide your first experience
with filters. Good quality
filters for cine cameras are
now quite inexpensive and
every amateur who shoots
black and white pan film
should have two or three.

Chief bugaboo to winter
filming is temperature con-
ditions. In extremely cold
weather, most cine earner-

HOME MOVIES FOR DECEMBER

PAGE 593

as, lubricated for average
summer conditions, slow
down or refuse to operate
altogether. Two things may
be done to overcome this.
First, the camera can be
sent to factory or repair-
shop for a change to lighter
lubricant, or a hood may be
fashioned of two or more
chemical heating pads, ob-
tainable at drug stores, and
fastened about the camera.
These pads will not only
keep the camera warm but
provide warmth for your
chilled hands and fingers as
well.

And speaking of chilled
fingers brings up the sub-
ject of changing film —
threading the camera when
fingers are numb — a diffi-
cult job and the chief deter-
rent to winter filming for
many. The only solution,
for those who do not have
cartridge loading cameras,
is to use your automobile or
some nearby shelter to per-
form this task.

It is in the winter that
black and white film comes

into its own. Properly ex-
posed with the use of a fil-
ter over the lens, panchro-
matic film is much pre-
ferred to Kodachrome by
some of the most inveterate
Kodachrome filmers. Koda-
chrome, however, loses none
of its appeal in snow pic-
tures providing the subject
contains sufficient color.
Kodachrome can be used
to advantage in filming
groups of skiers and skat-
ers where bright costumes
furnish the chief color note.
Pictures filmed on a clear,
sunny day with cloudless
skies will have the addition-
al color of the sky.

But regardless which film
is used, extreme care in cal-
culating exposure is still the
important thing. Where
there is an abundance of
brightness in the scene and
the important objects are
dark or in color, remember
to compensate for this — ex-
pose for details in the dark
areas — and your movies
will be successful.

J new

• Continued from Page 560

25c, has been prepared by
Eastman Kodak Co., 541
State Street, Rochester,
New York. A 52-page book
with many natural color il-
lustrations, it is almost a
“must” for every serious
color filmer’s library.

Bulletin No. 20 concern-
ing “Fototints” for movie
film tinting is free to all
Home Movies readers from
Mansfield Research Labo-
ratories, 701 So. La Salle
St., Chicago.

Film HBleasBs

home movie and a series of
short sound subjects en-
titled “History in the Mak-
ing” are announced by Wal-
ter 0. Gutlohn. Nine reels in
length in 16mm. sound, the
feature is “Harvest.” Dia-
logue is in French, English
sub-titles tell the dramatic
story of a French peasant
couple struggling to find
happiness as they till the
fields about a deserted vil-
lage. The Historical series
includes 19 releases in 16
mm. sound, each of which
runs five minutes. Com-
ment is by Tex McCrary and

the series covers timely
world-event topics. Ready
now is the 10th edition of
the Gutlohn Catalog of en-
tertainment and education-
al sound and silent 16mm.
motion pictures. Contains
136 pages, can be obtained
free by writing Walter 0.
Gutlohn, Inc., 35 W. 45th
St., New York City.

Ruby Camera Exchange,
New York City, is exhibit-
ing the new Askonia motor
driven cine camera with a
zoom lens. This lens is an
Astro f/2.3 which can be
manipulated to bring the
image from infinity down to
three feet. A geared turret
mount controls the focus-
ing of all three lenses, al-
lowing for extra rapid
changing of lenses.

Fields of view in view-
finder can be changed with
a flip of the finger. The
Special tripod which goes
with the camera has a fea-
ture which permits vertical
up or down swing of cam-
era of 90°. This new equip-
ment may be seen at 729
Seventh Ave., New York.

^^VlCTOIt

and qou give gears of pleasure !

WHAT could be more accept-
able to the camera fan in your
family or circle of friends than the
means of making pictures or movies Nlo.520-S
indoors — at home or elsewhere? $6 —

In camera stores everywhere you’ll
find VICTOR Lighting Units for
flood- or flash-lamps in a wide va-
riety. They are the efficient, the *3^)

substantial and economical photo- ^ "
graphic lights which both amateurs
and professionals prefer.

Shown here are hut a few of the
many VICTOR Units available —
clamp-on and stand Fotoflood mod-
els, Flash Holders and Synchro-
nizers. Prices — subject to change — No. 55
include excise tax. $ | 50

For FREE descriptive, illustrated
folder, write direct to

^ >j JAMES H. SMITH & SONS CORP.
1210 LAKE ST. GRIFFITH, INDIANA

V I CTO R,

ovie

maA

Makes prot’essioiial looking titles
with any make 8imn. or 16nim.
movie cameras. A sure-fire gift
for every movie amateur.

^Le ^deal

'MITTENS TITLING SETS"

Pin letters $5.50 up

Sanded back letters .... $4.75 up

On sale at all leading camera stores or available for immediate Xmas
delivery direct from our plant. Write for literature giving full details
today.

MITTENS LETTER COMPANY

REDLANDS CALIFORNIA

PAGE 594

HOME MOVIES FOR DECEMBER

Take Wide Angle Shots
With Your 8mm Camera !

The MACK Wide Angle Lens is designed to
overcome the inherent limitation of field com-
mon to all 8mm cameras. It covers TWICE THE
WIDTH or FOUR TIMES THE AREA included by
regular lens.

• DOUBLES Width of Field Covered!

• Screws in FRONT of Regular Lens —
No interchanging!

• Has Precise FOCUSING Adjustment
2 Ft. to Infinity!

Ideally suited to
color

PRICE, including
excise tax

both black-and-white and
photography.

$2200

Models for all regular 8 mm movie camera lenses,
fixed focus or focusing, of apertures from f 1.3 to f 3.5

At Your Dealer, or Write for Full Details

IIUJSK OPTICAL CO.

“ "eNCINITAS, CALIFORNIA

121

/MU

uAC

9 FI

Lvuhiug lor a way to be sure of top-quality movies
without paying a price penalty? Here’s your answer.
At ESSCO’s low prices you can afford to take more
movies and better movies. You pocket a genuine saving,
and enjoy greater film satisfaction at the same time.

ESSCO 12

a good, wide
non-halo, ortho
sharp, brilliant
Weston 12.

latitude,
film for
results.

ESSCO No. 8 Weston 8 semi-ortho 2*^^ I

ESSCO No. 24. extra fast, Weston ^ aa
24-16 panchromatic, fine grain. . .

ESSCO No. 100. Pan, non-halo,

Weston 100 Tungsten. Not for use ^ jc
In bright daylight 4''^^

2-50

2-75

FAST PROCESSING and return postage included. Each
roll on daylight loading spool in metal box and strong
carton, ready for use in all standard cameras. 24 hour
processing. ORDER DIRECT FROM THIS AD. Stock up
NOW before prices rise. $1 deposit on all C.O.D.
orders.

WRITE FOR DESCRIPTIVE CIRCULAR AND
BARGAIN LIST OF FILM SUBJECTS

^ddca ^iUn P^uoJUtcti

6117 S. Campbell Av.QIZBEi Chicago

• Continued from Page 577

(Skriitmai

onud

GREENWOOD TITLER— Uni-
versal feature enables adjusting
to a completely rigid unit for
any 8min. or 16mm. camera.
Typewriter style. $4.00 Green-
wood Photographic Devices Co.

A-TO-Z COLOR Title Outfit—
includes book of lettering guides
for tracing letters on title cards,
6 jars of special colors, 12 sheets
clear celluloid, 10 shets 8"xl0"
tracing paper, 10 photographic
backgrounds, and accessories —
an outfit enabling any amateur
without artistic ability to make
professional-like titles. $6.50.
A-to-Z Movie Accessories.

A-TO-Z TITLE MAKER— in-
cludes 1600 initials, 12 alphabets,
9 sets numerals, decorations,
decorations, etc for tracing ti-
tles. $2.00 A-to-Z Movie Ac-
cessories.

KNIGHT TITLE LETTERS—
cast 3-dimensional letters in%",
%" and 1" sizes packed in
compartment-box with wood-
grain cover which may be used
as title background. $7.00 and
$9.00 set. Knight & Son, Inc.

MITTENS TITLE LETTERS—
Molded plastic letters in plain
back or with pins. Two sizes — ■
%" and 114". Leatherette back-
ground furnished with each set.
$4.75 to $6.50 set. Mittens Dis-
play Letters.

SEEMANN TITLER — universal
type adaptable to all 8mm. and
16mm. cameras. Features cen-
tering guide and scroll-title gad-
get. Typewriter style. With re-
flectors, $9.95; without, $6.95.
Wholesale Photo Supply Co.

MASTER TITLE KIT— 222
molded white characters, %" in
size, including caps and small
letters, numerals, and punctua-
tion marks. Graduated compos-
ing template for 9"xl2" area.
$12.50 complete. Pin back let-
ters, $15.00. American Bolex
Co.

QUIXET MAGNETIC Title
Letters have miniature magnets
imbedded in each character per-
mitting them to adhere to metal
title background which is fur-
nished with set. Letters avail-
able in 1", and 114" sizes,
in white, black, red or blue.
Priced from $11.00 to $34.00.
Hamilton Dwight Co.

ADHESIVE TITLE LETTERS
— removable and re-usable title
letters in two sizes, 13/16" and
1". 240 characters to a set, $2.50
and $3.50. Accurate Cinema
Service.

PRESSES — for printing titles.
Junior outfits, $8.25 and up. Sen-
ior outfits, $17.00 up. Outfits in-
clude type, ink, etc., ready to go
to work. Kelsey Presses.

HEWITT TITLE LETTERS—
Titler kit containing 246 mold-
ed letters and characters in up-
per and lower case. Stick-on
backs permits application on any

surface. Easily colored for Kod-
achrome. $7.50. Bransby &
Hewitt.

SUPERIOR TITLER— typewrit-
er style for 8mm. Revere, Key-
stone, Bell & Howell, Eastman,
and Univex cameras. All metal
construction. Complete with aux-
iliary lens, $1.69. Superior Bulk
Film Co.

MAGIC WORD title letters —
pure white molded capital let-
ters, numerals and punctuation
marks. Cement for adhesion in-
cluded. 160 characters to a set.
%" characters, $3.00; 1" char-
acters, $3.50 set. Craig Movie
Supply Co.

B & H TITLER — for single-lens
FHmo 8 cameras. Features pre-
aligned camera mount, title card
holder, copying lens, and light-
ing units, $26.65. Bell & Howell.

PERSONALIZED LEADERS—
an animated lead title for your
movies includes “your name pre-
sents”_etc. $1.00 to $3.25. Avail-
able in 8mm. and 16mm. in
black and white or purplehaze
for Kodachrome. Cine Shop.

FOR PROJECTION

DA-LITE SCREENS— one of
the most popular crystal bead-
ed screens for home and auditor-
ium use. Available in wide range
of sizes and styles. In low priced
field is 30"x40" “Versatol” com-
bination tripod or hanging wall
screen. Retails for $7.50. Da-
Lite Screen Co., Inc.

BRITELITE screens — featuring
exclusive process beaded surfac-
ing. Available in wide variety of
sizes and styles and prices. Mo-
tion Picture Screen & Acces-
sory Co.

TRIPOD SCREEN— a special
30"x40" beaded screen that rolls
up into tubular case. Supplied
with sturdy folding tripod fitted
with rubber feet. $7.89. Lafay-
ette Camera Co.

RAVEN DUPLEX SCREEN— a
2-in-l double duty home movie
screen available in five distinct
Raven fabric surfaces: Haftone,
Witelite, Beaded, White Apaque,
and Polaroid Silver in 6 square
sizes from 30"x30" to 70"x70".
Prices on request. Raven Screen
Corp.

MOGUL-LITE Fold-A-Way pro-
jection screens are made of care-
fully woven material especially
adapted to brilliant projected
pictures. Available in sizes from
6'x4' to 15'xl2' and priced from
$8.00 to $32.00. Mogull’s

FOR PROCESSING

FLEX ON Processing Outfit —
includes 2 heavy gauge steel
tanks, bakelite finish, and spe-
cial hard rubber assembly rack.
Available in 25, 50, and 100 ft.
sizes for 8mm. and 16mm. film.
Drying rack extra. Prices on re-
quest. Flexon Co.

HOME PROCESSING outfit.
110 ft. capacity developing reel,
drying rack, and complete set
of developing powders and in-
struction book, $13.95. Same
outfit but for 34 foot capacity,
$9.95. Superior Bulk Film Co.

SLITTER for separating double
8mm. film into single 8mm.
widths. An essential accessory
for the 8mm. home processor.
Die cast with hardened steel cut-
ting wheel, $2.50. J. C. Haile
& Sons.

FOTOTINTS — for tinting scenes
and titles. Available in 6 col-
ors: Fire Red, sapphire blue,
amber brown, royal purple, em-
erald green, and sunlight yel-
low. Each 45c. Mansfield Photo
Research Labs.

CRAIG FOTOFADE— for mak-
ing chemical fades in 8mm. and
16mm. film after exposure. Mere-
ly dissolve in water, and im-
merse film to extent of desired
fade. $1.00. Craig Movie Supply
Co.

PROCESSING POWDERS— all
necessary chemicals put up in
% and 1 gallon size. Complete
instructions furnished with each.
$1.25 and $1.85. Fromader Gen-
era Co.

CINETINTS — prepared chemi-
cal dyes for tinting scenes and
titles. Merely dissolve dye in
water and dip film into solution
per simple instructions. Avail-
able in orange, purple, blue, am-
ber, and green — 50c each; $3.00
per set. Craig Movie Supply Co.

MISCELLANEOUS

AMFILES for 8mm. movie reels.
Finished in imitation leather to
look like three bound volumes.
Contains compartments for 9
200-foot 8mm. reels. Choice of
blue, green, red, or black bind-
ing. $1.50. Amberg File & Index
Co.

DE LUXE FILM CASES— com-
bination carrying-storage cases
for 8mm. and 16mm. reels. Lea-
therette and luggage coverings,
$3.75 for the 8mm. size; $5.00
for the 16mm. size. Geo. T. Pow-
ers Co.

CAMEL-AIR brush for remov-
ing fuzz, lint, etc., from gate
of camera or projector. Com-
prised of fine camel hair brush
attached to rubber blower bulb.
$1.00. Weimet Co.

GADGET BAG— made of double
textured brown water-proof
duck, provides space for camera,
filters, and other accessories.
Fleece-lined. Quick action zip-
per closer. Measures 8"xl0"x3".
$3.00. Willoughbys.

VTTAFILM — a film processing
fluid for the prevention of sur-
face scratches, blemishes, etc.
Easily applied. 4-oz. bottle, 50c.
R. D. Hanish Co.

HOME MOVIES FOR DECEMBER

PAGE 595

★★★★★★★★★★★★★★

jT H E

I G

^SURE-FIRE

^ HELPERS

★

fOLI'LL FIND them boon companions,
constantly. Every one of them vital ne-
^ cessities when it comes to speeding to-
^ ward that touch of professional finesse.
Priced as they are, you cannot afford to
pass up this opportunity of ordering all
of them by next mail.

^ HOW TO USE A MOVIE CAMERA—

The perfect manual for beginners — col-
orfully bound for only 50c.

* HOW TO REVERSE MOVIE FILM—

Which tells how to build home process-
ing equipment and gives all the formu-
lae for reversing, reducing and intensi-
-♦t fying — handsomely bound for only 50c.
^ HOW TO TITLE HOME MOVIES— Cov-
^ ering composition, type, backgrounds,
tricks, effects and animation — De Luxe
^ Edition at only $ I .

^ HOME MOVIE GADGETS — and How

to Make Them — Guaranteed brimful of
new thrills and a chance to treble your
fun — Heavy Three-Color Canvas-Backed
Cover at only $ I .

* THINK OF IT! $3 brings all of them
to you. Write your check Now and get
it in the mail Today. Simply address

•♦c HOME MOVIES, 6060 Sunset Blvd.,
Hollywood, Calif.

★

X-

^RUBY,

CAMERA ^

EXCHANGE

CATCRINO TO THC PROFCSSIOIIALS SINCl 1010

C(],CiO ...A NEW8-»l6n,/m.DEPT.

Wher* the Qmateur meets the Frofrssionai

729 - SEVENTH Ave Ai 49"a.

^ . JVEW yoiiK;jv;y: j

Will you save
a life?

Not many
of us can
be spectacular
heroes. Yet by
buying Christ-
mas Seals you
save human life
just as surely
as if you had
plunged into a
burning build-
ing!

More people
between the
ages of 15 and

45 die from tuberculosis than from any
other one disease. By using Christ-
mas Seals you make possible a year-
round campaign against this pes-
tilence— a campaign that since 1907
has reduced the tuberculosis death
rate 75% 1

Help save more lives in 1942 1

Buy

CHRISTMAS

SEALS

The Reader

IVbws From France

Here is a rare and inter-
esting letter from a movie
amateur notv living in occu-
pied France. Thankfid are
we who have no limitations
imposed upon our movie
making hobby and tve sin-
cerely hope it IV ill not be
long before our brother
hobbyists in France will
again be free to film as they
choose:

Gentlemen: The war and
the defeat have completely
disorganized the French
movie amateur. The clubs
have been closed and their
officers scattered by the
passing events.

Marshal Petain has cre-
ated the “Comite d’Organi-
zation de ^Industrie Cine-
matographique” (The Com-
mittee for Organizing the
Movie Industry) which is
the official body that will
manage the French movie
industry, both professional
and amateur. Only one ama-
teur club will be permitted
in each town.

In the occupied zone, it is
absolutely forbidden to take
any pictures. However, in
the free part and in the col-
onies, the taking of movies
is still permitted. Only
those clubs that project
films showing German ac-
tivities are allowed to func-
tion in the occupied zone.
Consequently all meetings
for the purpose of project-
ing films have been halted
since last November.

Amateur movie magazines
such as “Cine Amateur,”
“Cine Prive,” and “Cine
Pour Tous” are no longer
being published and the edi-
tors and their assistants are
in the occupied zone. Pierre
Boyer, Pierre Mouchon,
Louis Quinquet, Raymond
Bricon, Jean Vivier, and
many others have given up
writing for movie maga-
zines and have gone into
other lines of business.

Pierre Benon, the former
active president of the Bor-
deaux Cine Club, died on
the field of honor during the
battle of France. In the
Free Zone, in spite of the
shortage of film stocks, pro-

duction has started and a
number of amateur films
are being made. The clubs
in and around Marseille,
Lyon, and Grenoble are re-
starting their normal ac-
tivities.

— ]ean Beal.

France.

New Clubs Farming

Comes news of Uvo or
more netv amateur cine
clubs forming. If you re-
side in their vicinity, your
membership is welcome.

Gentlemen : The Twin-8
Cinema Guild, a new or-
ganization in Chicago de-
voted exclusively to 8mm.
movie enthusiasts, recently
held a public showing for
the benefit of its members
and friends. Regular meet-
ings will be held on the 2nd
and 4th Mondays of each
month at the Lake Shore
Field House, located at Chi-
cago Avenue and Lake
Shore Drive, Chicago. A
few memberships are still
open and any movie ama-
teur who may be interested
is asked to communicate
with Mr. Charles B. Mc-
Daniel, 737 No. Michigan
Avenue, Telephone White-
hall 6799.

— Tivin-8 Cinema Club.

Gentlemen : The Omaha
Movie Club is now organiz-
ing and any amateur, 8mm.
or 16mm., interested in join-
ing is invited to get in touch
with the undersigned at
4 6 16 Florence Boulevard,
Omaha, Nebraska, or tele-
phone Ken 4852.

• — Harry W . Sage.

Wants and Swaps

Here’s opportunity to fur-
nish a brother cinebug with
needed footage or to ex-
change film. This depart-
ment is also open to you for
your film needs at all times.
Be sure to state tvhether
8mm. or 16mm. film is de-
sired.

Dear Sirs: Am shooting
and compiling a 400 foot
8mm. movie on the subject,
“Art of Fishing” and would
like to obtain some 8mm.
footage on this subject.
Needed are 25 to 50 feet of

The IDEAL CHRISTMAS GIFT

At your favorite photo dealer, or write to

Quality Bulk Movie Film

8mm • 9V2mm • 16mm • 35mm

SUPER PANCHRO REVERSAL— Scored
Speed 24-18 — Antl-IIalo Backing.

100 ft. 33 ft.
Double 8 . . . $3.75 $1.35

Single 8 . . . 2.10 ,85

9^ mra. . . . 3.65

SUPER CINEPAN PLUS REVERSAL— Xot Scored
Speed 64-40 — Non-IIalation Base

100 ft. 33 ft.
Double 8 . . . $4.00 $1.50
Singles . . . 2.25 .95

16 mm 3.85

SUPER CINEPAN REVERSAL— Xot Scored
Speed 24-16 — Xon-Halation Base

100 ft. 33 ft.
Double 8 . . . $3.60 $1.30

Single S . . . 2.00 .80

16 mm 3.50

CINECHROME SEMI-ORTHO REVERSAL
Speed 8-2 — Xon-Halatlon Base — Nnot Scored

100 ft. 33 ft.
Double 8 . . . $1.85 $ .80

Single 8 . . . 1.20 .55

16 mra 1.60

CINE-KODAK-POSITIVE TITLE FILM -Xot scored
100 ft. 33 ft.
Double 8 . . . $1.45 $ .65

Singles . . . 1.00 .45

16 mm. .... 1.10

Clear, Purplehaze. Ycllou'. Red, .\mbcr. Special Blue.

Also DuPont Lavender, Light Amber.
Complete Xew Uevorsal and Title Instructions Free
with Film Orders. Scparaleb’, 50 cents cadi. Cash,
check or money order for quick service. Deposit
$1.00 returned with C. O. D. orders. Special Deliv-
ery, l5c: air mall $1.00 extra. Overpayments re-
funded or credited. Xo stamps, please.

CAMERA SPOOLS WITH CANS— Each
Keystone Dblc. 8 . $ .35 Keystone Sgle. 8 . $ .35

Eastman Dblc. 8 . .40 16 mm., 50 ft 55

Univex Sgle. 8. . . .15 16 inm., 100 ft. . . .65

EXTRA CAXS. Double 8 and Straight 8 size .05

100 ft. and 50 ft. 16 mm. size 10

Xon-llujnldor, 400 ft. 15c each: 10 for. . 1.25

MISCELLANEOUS

BAIA Precision All-Metal 8 mm. Slitter . . $2.7.5
FOTOFADK DYE for making Chemical Fades . 1.00
FOTOFADE WIPE-OFF TAPE, per roll . . .60

CIXETINTS. 6 Colors and Instructions . . . 3.00

DuPONT VISCOSE SPOXGES. each 35

HOME MOVIES. Back Issues, 1036-37-38 . . .15

Xot all months in any vear, 1940-41, each . .30

TITLE DEVELOI»ER. lubes, each make. 16 oi. .15
XOTICE — All previous prices are obsolete due to
new tax cITectlve Oct. 1. Xew lists again In prep-
aration and all who have written will receive copy
as soon as possible.

W. STUART BUSSEY FILM LAB.

17 E. ST. JOSEPH ST. INDIANAPOLIS. IND.

PAGE 596

HOME MOVIES FOR DECEMBER

BYRON’S of WASHINGTON
For Immediate Delivery of

CAMERA GIFTS

We’ve prepared ourselves with one of
the biggest stocks we’ve ever had in
Nationally famous movie equipment. If
you can't get what you want, write us:

Argus Bolex DoMina

Keystone Eastman Agfa

Victor Revere Perfex

Emel Univex Wirgin

Bell & Howell Pilot Voigtiander

Write Now for LOWEST PRICES
One of the biggest stocks of “GADGETS”
in the country

THE SUPREME GIFT!

Historic Color Movie

Cannot be

duplicated

BLOSSOM

TIME IN

NATION’S

CAPITAL

100 Ft. 16mm,

50 Ft. 8mm,

$17.50

$12.50

BYRON’S, Inc.

625 15th Street N.W.
Washington, D. C.

Make just more scratched, curled or dirty

rianrivffiftci or prints — and they’re easy

^ ^ 'to file and find. Look like books
(8Vs X 7"). Blue, green, red or black.
SLIDE FILE holds 300 slides

2x2" $1.00

NEGATIVE FILES. 3 styles. 35
mm (strips or rolls) to 5x 7" $1.00
PRINT ALBUM. Loose leaf 5 x 7".
Acetate covered mounts.. . $1.75
Also larger sizes.

MOVIE REEL FILES Sand
16 mm $1-50 and $1.95

At stores or sent direct prepaid
on 10 Days Money- Back Trial.
Write for folder showing complete line

AMBERG FILE & INDEX CO. ItliLlrXoli

Iftahe Good Films Better
With

PARK CINE TITLES

Crisp! Artistic! Economical!
Give meaning to your films.
Send for Latest Catalog

Park Cine Laboratory

120 West 41st St. New York City

8MM

KODACHROME

DUPLICATING

It is now possible to have your 8mm original
color pictures duplicated in Kodachrome at
lOc per foot. Minimum order $5.00.

16mm Kodachrome duplicated in sound and
silent.

CDLDH HEPRDDUCTIDIV CO.

7936 Santa Monica Blvd.

Gladstone 1355 Hollywood, Calif.

Get Better SPLICES with the new
• ! SEEMANN!

New improved design

f —made of heavy gauge

plated metal, mounted
on hardwood base. An-
chored cement bottle.
Accurate . . . EfTicient!
For 8 or 16mm.

A LASTING gift:

At All Dealers!

WHOLESALE PHOTO SUPPLY CO.

6628 Santa Monica Blvd., Dept. H M- 12 , Hoi lywood, Cal .

black and white film of fish-
ing scenes in salt waters
and mountain streams of
the West. Preferred are
scenes which include close-
ups of the equipment and
tackle used, closeups of the
catch, and good shots show-
ing actual landing of the
fish.

Will exchange for scenes
made in Michigan, in and
around Detroit, or unused
film.

— Harold S tickets,
16512 Braile Ave.,
Detroit, Mich.

Beaded Screen

The formula for making a
projection screen which we
published last December
aroused considerable inter-
est among amateurs. Here's
a letter from one ivith sug-
gestions for improving the
foi'mula and its application:

Gentlemen : Regarding the
formula published in De-
cember, 1940, Home Movies,
for making a projection

screen by using glycerine,
white glue, zinc oxide and
hot water, wish to say I
have made many tests with
this formula and that I
found the best fabric for
the screen base to be an or-
dinary white window shade.

Also, for the average size
home screen, a pint of the
solution is all that is need-
ed. I used % lb. glycerine,
yft lb. Cooper’s white glue,
^ Ib. zinc oxide and a pint
of boiling water. This was
applied to the white shade
with excellent results. I
used but half the amount of
water you originally speci-
fied. Otherwise, the solution
is too thin and does not ade-
quately cover the surface.
Particularly as the solution
must be applied while still
hot, using one half the
amount of water makes it
just right for a good thick
coating which, when dry,
provides the screen surface.

— Willard Becktell,
San Francisco.

^Foun

• Continued from Page 570

to the top spindle and
threaded into the film gate
and sprocket with the emul-
sion side down so that it
faces, in fact contacts, the
emulsion side of the raw
film stock which is threaded
into the printer simultane-
ously.

The two films pass
through the film gate, past
the light source which
causes image of the back-
ground film, on top, to be
printed on the raw film be-
neath it, and on to the take-
up spools at the right. The
builder of the printer illus-
trated incorporated no light
control in his arrangement,
so exposure control has to
be made by altering speed
of the motor instead of by
regulating intensity of
printing light. This type is
what is known as a continu-
ous printer — the film
travelling continuously past
the light aperture and re-
ceiving a degree of expo-
sure according to the speed
it travels.

The other type of printer
is the step printer wherein
the film travdsl5ast a light
source but stops momen-
tarily to receive the expo-
sure through an intermit-
tent movement, same as in

a camera or projector. An
excellent amateur version
of a step printer is illus-
trated in Fig. 2. Here the
amateur employed his cam-
era as a printer, mounting
it on a suitable base and
substituting a controlled
printing light source for
the lens. He uses his pro-
jector for holding the reel
of film containing scene to
be copied. Film is moti-
vated by the regular cam-
era motor and mechanism,
and density is controlled by
a rheostat mounted nearby
which regulates intensity of
the printing light. Another
rheostat permits making
fades — a feature the other
printer does not provide.

Prints are made as before
■ — the film to be copied and
the raw stock being thread-
ed into the camera with
emulsion sides contacting,
and with the raw film un-
derneath, and the film to be
printed nearest the lens.
The background print strip
travels into a large cloth-
lined basket for rewinding
later, and the raw film is
collected automatically on
the regular camera take-up
spool.

After thus exposing the
raw film, it is developed
and, as stated before.

Where to buy and
rent home movie films

More amateurs are deriving greater pleas-
ure from their home projectors by regularly
screening some of the fine 8mm. and 16mm.
reductions of professionally produced mo-
tion pictures. The swing toward ‘‘whole
evening show” home movie programs is gain-
ing tremendous momentum with the result
that important photo dealers everywhere
maintain extensive libraries of 8mm. and
I6mm. film subjects which may be rented or
purchased outright.

To guide our readers in the selection of
an evening’s show, HOME MOVIES will
[>resent here each month, suggested Movie
Menus — well rounded programs of movies
suitable for every member of the family.

Listed, too, are some of the nation’s im-
portant dealers who maintain film libraries
for their patrons’ convenience and who in-
vite you to consult with them regarding
your movie show needs.

CALIFORNIA

BAKERSFIELD

Edwards Camera Exchange
1609-~19th St.

HOLLYWOOD

Morgan Camera Shop
6262 Sunset Blvd.

SAN LUIS OBISPO

Shadow Arts Studio
1036 Chorro St.

KANSAS

WICHITA

Lewis Film Service
216 E. 1st St.

MASSACHUSETTS

BOSTON

Don Elder's Film Library
739 Boylston St.

Frank Lane & Co.

80 Boylston St.

NEW YORK

Medo Photo Supply
15 West 47th St.

OHIO

DAYTON

Dayton Film (8 & 16) Rental
Libraries

2227 Hepburn Ave.

PENNSYLVANIA

ALLENTOWN

James A. Peters
41 S. 1st St.

WISCONSIN

MILWAUKEE

Photoart House

844 N. Plankinton Ave.

SUGGESTED MOVIE MENUS
for DECEMBER
Castle Film Releases

(Onc-hour show)

•'MERRY CHRISTMAS”

Story of Christmas Season.

"WILD ELEPHANT ROUND-UP”
Amazing Wild Animal Picture.
"NEWS PARADE OF THE YEAR”

A news document of 1941.
"ALADDIN'S LAMP”

Cartoon in color!

Holly’d. Film. Entr. Releases

(45-minute show)

■TWAS THE NIGHT BEFORE XMAS”
Age-old story in motion pictures.
"SAILOR BEWARE!"

Christie Comedy.

"MICKEY PLAYS SANTA CLAUS”
Mickey Mouse cartoon.
"CHRISTMAS CHEER”

Cartoon featuring 3 monkeys.

HOME MOVIES FOR DECEMBER

PAGE 597

WIDE ANem
SCREEKt

o IDEAL UDNT REfLi4^trONI
0 HIGH OUALDrVMLOW COST!

t Prove it to yourself.

0'^**®* Write for FREE Wide-
An9le Screen sample, test kit,
chart and descriptive literature on
Screens, Spotlights, Cases and
Slide Files.

MOTION riCTURE SCREEN t ACCESSORIES CO., Inc.

351 West 52nd Street • New York City

7 DOUBLE ft SLOHCO

Load Your Own Spools ond Save Money

A REVERSIBLE Semi*Ortho Outdoor Film. Can be used
in Cine Kodaks, Keystone, Victor, Filmo, Revere, Cine-
master. and Univex Cameras. Processing simplified by
use of Prepared Processing Powders. FREE Film, Proc-
essing. Instructions with any of following items:

AW 1 1 8 width V ■ ■ • W paid one Eastman 45c.
25 Oble. 8 “Reflll” without leaders. 60c postpaid

IVVII width V I ■wWpaid Keystone sg-1. 3Sc.
400 ft. 16 mm in metal reel container, $4.95 postpaid
DEVELOPING OUTFITS incl. Prepared Powders: For
30 ft. single 8. $5.50; ptpd.; Dble. 8 & 10, $7.50.
Stamp for Film sample, circulars, our processing prices.

FROMADER GENERA CO., Davenport, Iowa

DO JUSTICE TD YDUH MOVIES

ivilh PHOFESSiami TITLES

Get the same beauti-
fully illustrated 16mm
titles as used by Mo-
tion Picture theatres
everywhere.

We're title mokers to
10.000 theatres.

over

^ We can do justice to
YOUR movies. Our

Kodachrome
are the best
Inquire todayl

1327 S. WABASH AVE.

CHICAGO, ILL.

8mm FILM SLITTER

Slits 15mm width film to exact 8mm width. Die
cast body, hardened steel cutting wheels. Will
not scratch film. Precision built. Price $2.50
At your dealers

RALPH V. HAILE & ASSOCIATES
215 WALNUT ST. CINCINNATI, OHIO

GIBBS

FLOOD-

GUNS

THE ONLY flood-light that follows the camera —
models for either still or movie cameras.
ARTHUR E. GIBBS

1925 N. E. Knott St. Portland, Oregon

HOME MOVIE PRO-
CESSING is easy with
our light-proof FLEX-
ON. Film completely
inclosed. Faster wash-
ing. Professional results.
Write for prices on
film and Rev. Proc.
powders.

The FLEXON CO.

1323 Byron, Chicago

A POSTAL

with your name and address brings you
our latest free catalogue listing 8mm.
bulk films, spooled films, and labora-
tory services.

5AVE SQO/o on film costs with ESO'5
Quality 8mm. Cine Films.

ESO-S PICTURES

‘'Quality 8mm Service*’

3945 Central St., Kansas City, Missouri

rinsed and fixed while the
image is quite weak, and
then dried in the usual
manner. The film is now
ready to use as a title back-
ground.

The background film is
threaded into the camera
along with the positive film
on which the title is to be
made. The most practical
method is to wind the two
films — positive and back-
ground strip — together on
the camera feed spool, mak-
ing sure the background
strip is so wound it will
face the lens and that the
emulsion sides of both films
face one another in travel-
ing through the camera.

If the two films are suf-
ficiently long enough to be
threaded into the lower
take-up spool, it is impor-
tant that the outside or
background film loops be
made larger than those of
the raw film in order to pre-
vent possible binding and
consequent jamming of film
in the camera during film-
ing of the titles.

From this point, the pro-
cedure for making direct
positive titles is the same as
when the background film

• Continued from Page 571

whom he purchased it.
There the manager kindly
pointed out his filming
faults, suggested ways for
correcting them. In due
time, Manashaw had a thou-
sand feet of Kodachrome
completely edited and titled
into a compelling document
aimed to tell why Bermuda
should be put on the travel-
er’s “must” list for his next
vacation.

But before offering it to
his employer, Manashaw
wisely sought a build-up
for his movie and at the
same time, the honest reac-
tions of others. He had in-
cluded several shots of the
Master of the liner in his
film, also some of the offi-
cers. They were anxious to
see these movies, and a spe-
cial showing was arranged
for them in the ship’s the-
atre the next time the liner
docked at New York. Over
sixty attended the screen-
ing and their enthusiasm
ultimately reached the ears
of the vice president, who
summoned Manashaw and

is not used. Title cards must
be white with the lettering
jet black. Best results will
be obtained when title let-
ters are large and bold. No
increase in exposure will be
necessary because of the
background film providing,
of course, the background
film is of the right density.
Should density be heavy,
then exposure must be in-
creased accordingly, and
this may cause the letters to
photograph unevenly. But
a few trials will indicate
the proper exposure.

Development for these ti-
tles will be the same as for
any positive film. Ordina-
rily a soft developer is pre-
ferred for this type of title
since the background con-
tains little contrast, and
soft, warm tones are most
desirable. D-72, diluted 1-1,
for two minutes will give
excellent results — white let-
ters in sharp relief over a
subdued moving back-
ground.

Correctly made, such ti-
tles will be flickerless, and
neither background or title
will be out of focus, lending
a veiy professional appear-
ance.

mouie

requested another showing
of the picture. The vice
president was at once en-
thusiastic.

Taking his cue from this,
Manashaw explained how
his film could build business
for the steamship line if ex-
hibited to interested groups.
He pointed out that already
he had several women’s
clubs and employee groups
scheduled to see the picture
— that among these were
potential travelers who
should be told about the at-
tractions of the company’s
cruise service. A deal was
made there and then, and
Manashaw had arrived on
the threshold of making
movies for money.

What opportunities lay
ahead, Manashaw did not
know. He still had his cruise
director’s job and now the
film which was also making
money for him. He realized
that while Bermuda was
world famous as a play-
ground for vacationers, oth-

Rothco

MOVIE KIT

For Black and White or
COLOR MOVIES

ALUMINUM MOUNTS and SUNSHADES

The RoUico Movie Kit is made to fit most of the
Sinm movie eameras and consists of four individuulb'
mounted color filters and a sun shade.

Included in the kit is the new Rothco PayllKhl
Filter, for use with Type A Kodachrome in daylight.
The complete kit retails at $3.75.

See Your Dealer or Send Remittance with Order

Rothco Products

113 N. 6th Street

Philadelphia, Pa.

New A-to-Z

COLOR -^.50

TITLES

TITLE 5
OUTFIT

for making
KODACHROME
White or Black
ON PHOTOGRAPHIC BACKGROUNDS
Outfit includes: A-lo-Z Title Maker (12 Alphabets,
DiiiO Initials) 30 Figurettes in color; Title Frame
(7" X 9" area) 12 sheets of S" x 10" clear, washable
.\celate Film; 6 jars of special Colors (Red. Yellow,
Blue. Green. White. Black), 10 Photographic 8" x 10"
Background Prints; 10 sheets 8" x 10" Tracing Paper;
Brush and complete Instructions. FREE S.AMPLE KIT.
Complete outfit at your dealer or send $6.50 direct
A-to-Z MOVIE ACCESSORIES
175 FIFTH AVE.. Dept. H32, NEW YORK CITY

ATTENTION MOVIEMAKERS!
SENS. 4 TION A L VA L I E S !

* PROJECTION LAMPS

For all projectors. Large factory purchase makes
possible these new low prices on clearest Pyrex
Bulb. Shock resisting construction. Seienllftc fil-
ament design for highest screen illumination. 500
watt, $2.49; 750 watt. $2.87.

★ BEADED SCREENS

Famous make tripod screens. Beads just won’t
come off. 30x40 (rcg. list price $13.95), now $8.9.5.
40x40 (reg. list price $16.95), now $10.95.

All .Merchandise fully Guaranteed and
Shipped in Time for Christmas

N. J. PHOTO SUPPLY CO.

17 ACADEMY STREET NEWARK. N. J.

For Good Re.^ults — Load If ith

DIVYX MOVIE FILM

ONYX

feet 16

$2.25

$4.25

$4.75

feet 8/8

1 .00

1.50

1.65

feet Univex

.65

.95

I.IO

RATINGS-

-8-24-64 for

Daylight

Reversal processing free of charge.
Write for price list of other types of film
and chemicals for home processing.

KENWOOD FILMS

818 E. 47th St. CHICAGO, ILL

BUT NOT TO KILL!

WESCO HOME MOVIE SCENARIOS

Choice t«l«ction of plots. Fun lor all. Sand for complata
tynepsit circulor FREE! Saa your daolor or writ# to Oopt. H

WESTERN MOVIE SUHIY CO. • 254 Svtt«r St., Sai Froidsco

PAGE 598

HOME MOVIES FOR DECEMBER

Ttie "punsters’* cull me
"Cine-Full Charlie” with
a reason . . . for we do
carry a mighty impressive
array of movie eciuipment
. . . new and used . . .
so please widte me of your
\vants.

^^'ri(e me ahout

• RCA 16 mm Sound Cameras.

• MOVIKON 8 and 16 mm Cameras.

9 BERNDT AURiCON 16mm Sound-on- Fi Im Re-
corder.

• BELL & HOWELL and EASTMAN Sound and
Silent equipment.

Write Dept. H M for Cine Bargainqram

assOMfmOo.

79 W.MADISON ST., CHICAGO, ILL.

The BIG BOOK That
Tells You All About
'PRIZE' Enlargements

Fine projection printing
equipment for the seri-
ous worker. Write Dept.
SP for FREE Enlarg-
ing Treatise.

SOUR ENUR6ERS

Manufactured by

BUkKE fir JAMES. IHC. “c^Uago“imnoi!‘'

Wnr l(Smm Smmd Film

IT'S POST PICTURES

Many new features and shorts
Popular Hollywood stars. Wide
variety of subjects. Illustrated
1942 Catalog sent on request.

WRITE TODAY

POST PICTURES CORP.

723 7th A ve. Dept. 14 New York City

AttvtrirtirSTllR PROGRAM

No ma+rer what your film problems, our
up-to-the-minute studios can solve them!

★ PRODUCTION of professional
films.

★ PROFESSIONAL SOUND for
the pictures you have filmed.

★ RENTAL of modern studio,
cameras or recording equip-
ment.

★ CUTTING, EDITING and
TITLING.

HARTLEY PRODUCTIONS

^0 West 47th St. New York City

8 ENLARGED i| ^ REDUCED ^

TO lb TO o

Black and White and Kodachrome

GEO.W.COLBURN LABORATORY

Special Motion. Picture Printing
II97-A MERCHANDISE MART
CHICAGO

er resorts had equal attrac-
tions to offer. Perhaps if
they could see in motion
pictures how Bermuda’s
coral isle achieved its fame,
they might be interested in
exploiting their own resort
features and attractions. So
on the next southern cruise
that was scheduled for stop-
overs at Florida ports, Man-
ashaw brought his Bermuda
film along.

Audaciously calling on the
Miami Beach Chamber of
Commerce, Manashaw told
them he had a publicity film
on Bermuda which they
might like to look at, see-
ing how Bermuda was of-
fering them stiff competi-
tion in the winter tourist
trade at the time. As if
they did not already know,
Manashaw told the Miami
Beach moguls their fair city
had everything tourists
yearn for — abundant sun-
shine, a rainbow surf, race
tracks, magnificent hotels,
and pretentious estates
with lots of real estate still
left — that all of these, pic-
tured in Kodachrome, could
easily stimulate the tourist
trade from the north. And
to clinch his argument, he
shot a couple of rolls of
Kodachrome of Miami’s
chief attractions, titled and
edited the scenes, and gave
a screening at the Chamber
of Commerce that netted a
definite promise to consider
a full scale publicity film
project.

A month later, with the
cruise season over, Mana-
shaw took a leave of absence
and a plane to Miami. Along
with his baggage was his
camera, tripod, and a few
articles of lighting equip-
ment. Not waiting for the
Chamber of Commerce to
decide the question, Mana-
shaw set right to work on
his own, shooting a promo-
tion film in color which later
was to appear on screens
from coast to coast under
the title, “Miami Is Calling
You.”

Even if he failed imme-
diately to sell it to Miami’s
Chamber of Commerce, he
would have a companion
travel picture to exhibit to
passengers when Bermuda
cruises were resumed. And
Manashaw knew that among
tourists travelling to Ber-
muda were many tycoons of
the business world who
might recognize the value
of a good publicity film
when they saw one. And he

made a point for them to see
his — in the ship’s theatre.

This strategy brought
good results. On the very
first trip to Bermuda, after
cruises were resumed, he
was summoned by a passen-
ger, the vice president of
an important freight steam-
ship line. He had in mind
a movie depicting his com-
pany’s operations that could
be exhibited to shippers and
which would stress the ef-
ficiency of his personnel
and the especial care with
which freight shipments
were handled. He ques-
tioned, though, the great
cost which he had been told
such films would entail.
When Manashaw revealed

the cost of his two pictures
that had attracted the vice
president, the latter was
impressed and arranged for
Manashaw to see the com-
pany’s president in New
York.

“This,” said Manashaw,
“was the turning point in
my career. It meant every-
thing— my first sound film,
my marriage, my future.
From then on, the road was
not easy but the stumbling
blocks were smaller. The
problem was how to branch
out — ^to make films of dif-
ferent industries. An auto-
mobile accessory manufac-
turer, I had read about, was
marketing a device that im-
proved carburetor perform-

EXPOSURE TABLES FOR PHOTOFLOOD LAMPS

For Use with Good Reflectors

Photoflood

Distance

Lamps

Subject

‘Diaphragm opening for films with
Weston Mazda speeds of;

Lamps

In Feet

1 8

3'/2

f2.8

f3.5

f4.5

f5.6

f6.3

f2.8

f4.5

fb.6

41/2

fl.9

f3.5

f4.5

f2.8

f6.3

51/2

fl.5

fi.9

f'3.5

f5.6

One

fi.9

f'2.8

f3.5

f6.3

No. 1

6I/2

f4.5

Lamp

fl.5

fl.9

f2.8

f5.6

7'/2

fl.5

f2.8

f4.5

8'/2

fl.9

f3.5

fi.5

fl.9

fl.5

fi.9

f2.8

f3.5

3'/2

f3.5

f4.5

f5.6

f6.3

f3.5

f4.5

f6.3

fii

41/2

t2.8

f5.6

f6.3

f3.5

f4.5

f5.6

fll

5'/2

f2.8

f3.5

f5.6

fl.9

f2.8

f4.5

Two No. I's

6I/2

f4.5

f6.3

f2.8

f3.5

One No. 2

fl.5

fl.9

f3.5

f5.6

f6.3

8I/2

f2.8

One No. R2

fl.9

f3.5

f4.5

fl.5

fl.9

f2.8

f5.6

fl.5

f2.8

fl.9

f3.5

f4.5

fl.5

fl.9

fl.5

fl.9

f2.8

f3.5

3'/2

f5.6

fll

f4.5

f5.6

fl6

41/2

f3.5

f4.5

f6.3

f2.8

f5.6

fll

51/2

f3.5

f4.5

f6.3

f3.5

f5.6

f6.3

fll

6I/2

f2.8

f3.5

f4.5

f5.6

V/2

tl.9

t2.8

f4.5

8I/2

f2.8

f3.5

f4.5

f6.3

’’/2

fi.5

fl.9

f3.5

fb.6

One No. 1

101/2

fi.9

f2.8

f3.5

1 1

f6.3

I2</2

fl.5

fi.9

f2.8

f4.5

f5.6

fl.5

f2.8

fl.9

f3.5

f4.5

fl.5

3/2

f5.6

f6.3

fll

f4.5

f5.6

f6.3

fll

fl6

41/2

f3.5

t4.5

t5.6

f6.3

fl6

51/2

f4.5

fll

t2.8

f3.5

f4.5 1 f5.6 f6.3

Two No. 2's

e/2

f6.3

f3.5

fb.6

til

Two No. R2's

7/2

f2.8

f4.5

t3.b

t5.6

One No. 2

8/2

fl.9

f2.8

f4.5

and

9/2

f2.8 1 f3.5

1 f4.5

t6.3

Two No. I's

fl.5

tl.9

t2.8

t3.5

tb.6

One No. 4

fi.9

f3.5

f6.3

t2.8

t4.5

' '■

fi.5

fi.9

f5.6

fl.5

f2.8

fl.9

f3.5

f4.5

fi.5

•For Weston speeds of popular films refer to Exposure Meter Guide on
another page. (See Table of Contents.)

This data based on interiors and subjects of medium color.

For light colored subjects and interiors close diaphragm one-half stop.
For dark colored subjects and interiors open diaphragm one-half sto^.

HOME MOVIES FOR DECEMBER

PAGE 599

A GIFT THAT COUNTS
Famous Knight Metal
Letters for Movie Titles

1. 5/8"
Script

2. 5/a"

Classic

metal Letters

3. 3/4"
Old

English

EAxy .

4. 5/8”
Broadway

De Luxe Sets 225 capital and lower case let-
ters and figures, 4 corner pieces, tweezers,
and cement in handsome box. Style 1 and 2,
9.00, .54 tax--9.54. Style 3, 17.50, 1.05 tax-
18. 55. 160-piece sets Style 4 or modern block
(like heading), 7.00, .42 tax — 7.42.

Send Us Your Order for Prompt Shipment

KNIGHT & SON. INC.

BOX B, SENECA FALLS, N. Y.

CORONA

BETTER
BULK
FILMS

SAME PRICE FOR I6MM OR DOUBLE 8MM.
ALL FILMS HAVE ANTI-HALO BACKINGS
PRICES DO NOT INCLUDE PROCESSING.

SPEED 100 R. 400 R.

SUPER-PAN 24-16 3.15 11.60

ORTHOCHROMATIC .... 12- 4 1.75 6.00

SEMI-ORTHO 12- 4 1.30 4.25

MACHINE REVERSAL PROCESSING— Double
8 or 16mm— 100 ft., 85c; 50 ft.. 65c 25
ft.. 50c.

Special Delivery Service on All $5.00 Orders
All Orders Shipped Postpaid Except C.O.D.
FREE BOOKLET on home processing instructions,
plans and formulae with orders.

Single copies. 15c.

CORONA FILM LABORATORIES

1028 NEW YORK AVE. BROOKLYN, N. Y.

YOUR 1942

FILM HEIVTAL

80 page catalog of 8mm, 16mm silent
and sound subjects will be ready No-
vember 15. Write for your copy NOW!

♦ ♦♦

ZENITH CINEMA SERVICE

501 I N. Sawyer Chicago

Your Dealer for Movie and Still Supplies.
NEW Movie-Mite I6mm. Sound-on-film projec-
tor $169.50. New and used films, trades. Color
Cartoons — 8- l6mm-sound. Christmas orders now
being prepared.

JAMES A. PETERS

Commercial Motion Picture Service.

New Address; 41 South 4th St.

Dept. HM. Allentown, Pa.

5!^ 5:?^ ssfi' 5!^ 5^ -"(f •

Rent Professional Movies for holi-
day parties. Please specify sound
or silent when writing for free
catalogue of 16 mm. rental films.

ewis Film Service

216 E, 1st St.

Wichita, Kansas

’2

50 OUTDOOR OR

AMBERTINT
Per 100' Roll
Machine-processed,
spooled and mailed.
California buyers
include sales tax.

HOLLYWOODLAND
STUDIOS
Southgate, Calif.

tYourOwn

Film Titles

Photo ti ties, stationery
cards, bookplates, advertising.
Easy roles furnished. Junior
Outfits tS.2S up. Senior $17 up.
Print for Others, Big Profits. Sold
direct from factory only. Write for
free cataioff and all details. Kelsey
Presses, W>94, Meriden, Conn.

ance. I went to him and
suggested that a movie of
the operation of his device
would enable him to present
the complete story of its
performance to the auto-
mobile magnates in Detroit
who he was trying to inter-
est at the time. The deal
was made and the picture
w'as completed within two
weeks.

A Ter making this film,
I learned of an Old Folks
home that needed money in
order to continue opera-
tions. I sold trustees of the
institution a film, picturing
the good done by this insti-
tution, that could be shown
to women’s clubs and other
civic organizations as a
means of raising funds.”

Thereafter, Manashaw’s
fame as a producer spread,
fortunately to the most re-
ceptive ears. He since has
made many important com-
mercial films. Two were
narrated by Lowell Thomas,
and one of his most recent
— by the much sought Alois
Havrilla, whose excellent
voice is heard in some of
the most pretentious busi-
ness and educational films.

Of course, Manashaw did
not produce these pictures
with only a camera, tripod,
and a few rolls of film — al-
though, he confesses, that
is all the equipment he pos-
sessed when he shot the
Bermuda and Miami Beach
pictures which gave him his
start in the commercial
field. Since then, he has in-
vested a considerable por-
tion of his remunerations in
equipment. He now owns an
Eastman Cine Special with
gadgets and accessories
too numerous to mention ;

about $2000.00 worth of
lighting equipment; and
maintains a modest studio
for shooting interiors. His
sound work is farmed out
to companies specializing in
this field, although latest re-
ports indicate he’s seriously
considering buying Auricon
equipment so he can handle
a production complete from
script to sound prints. With
bigger opportunities open-
ing up on the West Coast,
he has transferi’ed his bus-
iness to Hollywood where
he’s engaged at present on
a 1600 foot Kodachrome ex-
ploitation film.

Manashaw’s success is at-
tributable to something
more than the ability to
make good pictures with a
movie camera. He had fore-
sight and initiative, which
he so aptly demonstrated in
gaining the contracts with
the freight line executive
and the auto device invent- ’
or. None of these required
a picture that needed ex-
pensive equipment and vast ’
indoor sets, although such
pictures are often produced -
by those film makers so ,
blessed.

There are many similar
opportunities beckoning se-
rious 16 mm. filmers every-
where. Ideas for success-
ful sales and promotional
films abound in the most un-
looked for places — places
where the big professional
producer would never look i
for business. There’s prob-
ably several such opportuni-
ties awaiting discovery in
your very city — just wait-
ing for another Donald
Manashaw to come along to
put them on film and mar- |
ket them. !

• All Amateurs, whether subscrib-
ers of HOME MOVIES or not, are
invited to submit their films to the
editors for review and helpful crit-
icism. Unless otherwise requested,
reviews of some of the films which
we believe would benefit other
amateurs will be published each
month.

Reviewed films will be rated one,
two, three, and tour stars, and films
qualifying tor two or more stars
will receive, tree, an animated
leader indicative of such award.
Detailed reviews, with suggestions
tor improvement — it any — will be
mailed to amateurs submitting their
films.

Exceptional films qualifying tor
the distinction of the "Movie of
the Month" will be treated in de-
tail in a feature length article in a
following issue of HOME MOVIES.
In addition, a certificate evidenc-
ing the award of "Movie of the
Month" and a special animated
"Movie of the Month" leader will
be returned with such films after
review.

When submitting films for review
or analysis, please advise make of
camera, speed of lens, whether or
not tripod was used, or it you used
filters, exposure meter, or other
accessories. While this information
is not essential to obtain analysis
of your film, we would like to pass
it on tor the benefit of other ama-
teurs.

PROTECT
FIL.TIS . . .

against climate,
wear, scratches,
oil-stains, water,
dirt and finger-
marks.

VAP Orate
YOUR FILMS

Hollywood has tested film
protection . . . the U. S.
government has tested it.
too . . . both agree on
VapOrate as the standard
of adequate protection for
their valuable films. . . .
So it's important for
every movie maker to
know about this vital
VapOrate film treatment
that has passed the coun-
try’s two most gruelling
tests and is the standard
ot the nation.

VAPjQ.RATE •

lit'ller ]>holo Jiiiishers ojJer\ .\P()R.-VrE
proleclion for still negatives.

VAPORATE CO., INC. | BELL & HOWELL CO.
130 W. 46th St. I 1801 Larchmont, Chicago

New York City ' 716 No. LaBrea, Hollywood

Used Christmas Specials

I’erfex .Mag. rui rcM ‘i*” F2.." : 1" F2.7. New $79.50
Kl-vpvp. F;]..'. $29.95: F2..' X. 35.95

Cine Kodak .s. $19.50: F2.7 24.50

UeveiL* I’roj. .Mod. S.T. .T«mu . F1.6. rasi* Now 75.00
Filmo 121. F;{..'. $45.00: FI.-'), (•a^«• . 74.50

I'ilnio 16mm $35.00: I'l.S 65.00

Simi)!ox .Mag. F:L5. $24.00: Fl.lb, 49.50

Filmo. TiiDA, l-2-:{" cam' 185.00

Kevsloiu*. .MtHkd A. IwL-'., rase. 14.50

('ine Kf*lak H. I'::..".. $15.00: Fl.l» 42.50

('ine Kodak .Mag. Fl.li. case L. N. 79.50

Victor :L F2.7. $52.50: F2.9 49.50

RCA IGMM Sound Cameras in Stock
.\micon Ueconk'r. like heu 600.00

Hell tV Howell 2ilii w. 1‘roj., eax* 37.50

Keystone .V7.', ."ilKi w.. 39.50

Koilascope It I’roj. 1" 2" lenses, case. . 42.50

XKW X -m Itox beatletl .screens 7.50

.Metal sectimi. pan ami tilt tripods.. 8.50

.\sk for rircular on Oor t'.\M.\UT TUII’ODS.
We Buy Photographic Equipment and Pay Highest
Prices. Trades accepted. All equipment guaranteed.

CAMEPA’MART.//rr.70 W.455T.W.Y.C.

"Santa Claus Is Coming"

8mm.
I 6mm.
I 6mm.

The only animated cartoon show-
ing Santa's workshop, reindeer,
elves, church, etc.

$ .75
1.50

(sound) 2.00

Orders Rushed C.O.D. — P. P. Prep.

SELECT FILM PROD.

858 North Mansfield Ave.
HOLLYWOOD, CALIFORNIA

HOME TITLE LETTERS

Beautiful, classic style, solid Metal letters.
220 pieces %-inch caiiitnls, %-inch lower case.
V^-inch thick, lacquered white or black. Sets are
carefully selected for complete titles or you may
select your own set 220 piece.s
Extra letters Ac ea. Photo of letters on request.
PRICE $5.00

California Letter Supply

2014 Holly Drive Hollywood, Calif.

O^^^rite

For
oto
pment

Natipfiollv %novn new end wind eemirni,
knits end ehetegrephie cqeipntent ef low-
est prices. Old tqeipmcnt ecccptcd in tredc.

Ik. ^

CAMERA

axatAnet

Lorgeit Stock of Cemcros end
Equipment in the South.

1003 PiNNSYLVANIA AVI. N.W., WASHINGTON, D, C

Notice to Movie Fans

If you lakt* movU*s c.Mmin or IGntm) you Ntmply cannot
alTortl t«i hi‘ wllhoul a Froo copy <if tiu* l.'ite.si IM’ujIo liar-
gain Hook now being dl.siribuled ihrtuiglioul iho U. S.
I.lsis all tlu‘ host moving picture ec|uipmenl from :dl
the io.'Miing immufaciurer.s. tlescriltcs them. Tlie prices
save you motley in many cases. You’ll find Uic lale.st
in lenses, screens, meters, projeclors, cameras, film,
litters, editing outlils, tripods, books on editing,
tltUng, etc. This Bargain Hook is invalii.'ible to you as
;in equipment H1-',I'I-:ki-:nCK book. I)t>n'l wall a <lay
kmger to semi for vour Free copy. Write u.s now,
CENTRAL CAMERA COMPANY
230 S. Wabash Dept. L-9 Chicago. Illinois

PAGE 600

HOME MOVIES FOR DECEMBER

Wit!. ADVANCED

C^lne^iimerd . . .

Will and The Way

In the October issue we
mentioned the especial ac-
claim given Chester Glass-
ley’s film, “Will and The
Way,” by the Academy of
Motion Picture Arts and
Sciences in Hollywood. Out
of that special screening
given for Academy direct-
ors, has come still greater
prestige for Glassley. Arch
Obler, N.B.C. radio script
writer, has purchased from
Glassley the rights to the
story and intends to devel-
op it into a radio script,
then into a feature len^h
screen play.

Valuable Gadget

Recently a pilot crashed
to his death in a test flight
near Los Angeles. Through
a cine camera installed in
the plane, a complete mo-
tion picture record pointing
to cause of fatal crash was
obtained — the camera con-
tinuing to record until the
moment of impact. Much
credit for this invaluable
movie record goes to cine
amateur Dudley Porter of
Beverly Hills, who recently
developed a new type elec-
trical remote camera con-
trol which he loaned plane
manufacturer’s engineers
especially for this test flight.
Fortunately crash did not
result in fire and the film,
encased in a cartridge, was
unharmed and readily proc-
essed to reveal priceless
data to aircraft builders.

Movie of The Month

Recently, after spending-
more than $6000.00 in the
production of a 16mm. film
publicizing the city of Spo-
kane, Chamber of Com-
merce executives are report-
ed to have shelved the pro-
duction in favor of an ama-
teur made picture which, in
their opinion, far surpassed
the commercial effort.

This amateur picture is
“Spokane and The Inland
Empire,” conceived and
filmed by Burton Belknap
and honored as the Movie
of The Month for Decem-

ber, 1940. It is one of the
finest documentary films yet
reviewed by Home Movies,
and in our opinion, too, is
equal to the best photo-
graphic and continuity re-
sults achieved by many bus-
iness film producers. It
proves again that there’s a
lot of surprise talent among
serious amateur movie mak-
ers.

Wins Promotion

Joseph Shain, who works
for a public utilities com-
pany five and a half days
per week, and shoots movies
the greater part of the re-
maining day and a half, has
been making movies a lit-
tle less than a year. Natur-
ally, so avid a fan soon
runs out of filming material
around the home and
Shain’s interests turned
elsewhere.

He conceived the idea of
making a record film of the
activities within his depart-
ment; but instead of mak-
ing a series of catch-as-can
shots of fellow employees
in working routine, he
planned his picture thor-
oughly in advance — decid-
ed to make it an instruc-
tional film showing the right
and wrong methods for a
workman in that depart-
ment. Fellow employees
were quite enthusiastic and
cooperated freely as did
Shain’s superiors.

The completed film,
screened for his fellow em-
ployees, was highly com-
plimented and news of
Shain’s effort soon reached
important officers in the
company. Result was a com-
mand performance for the
board of directors. They
opined that a service de-
partment employee with
such capabilities deserved
better things, ordered a
promotion.

Emanuel, Ton

Also tasting of the first
fruits of commercial filming-
ventures is Demetris Eman-
uel of Los Angeles, whose
film “El Lobo” was a Movie
of The Month for April,
1940, and whose picture

“On The Spot” was accord-
ed Honorable Mention in
this year’s competition and
gained further prestige by
being selected the first film
to be televised in a program
sponsored by Home Movies
over the Don Lee Television
station W6XAO in Holly-
wood.

Emanuel has just com-
pleted a 400 foot 16mm.
Kodachrome medical film
for a prominent Los Angel-
es dental surgeon. Screen-
ing of the film among the
medical and dental profes-
sion has resulted in several
offers for Emanuel to pro-
duce other pictures. It was
inevitable that Emanuel,
with his flair for good stag-
ing and incomparable cine
photography, should even-
tually find a market for his
ability. We wish him luck.

WoW. of

tL Wonll,

o Continued from Page 573

and very effective. Need-
less to say there is not a sin-
gle frame off focus or over
or under exposed — a note-
worthy feature of Bartel’s
initial production, too.

We should like to have
seen a tighter story em-
ployed and the tendency to-
ward fantasy eliminated in
the closing sequences of the
picture. But then one man
cannot, very often, succeed
to perfection in all depart-
ments of movie making. Not
even in Hollywood is this
done where the story alone
is invariably written by
two or more people. And
the principals whose spe-
cial talents further affect
the production thereafter
are legion.

Herman Bartel now has
three excellent films to his
credit: “Angels Are Made
Of Wood,” his 1940 Contest
winner, “Singing Shad-
ows,” and the Movie of The
Month for December, 1941
— “Do It Again, Harry.”
As we go to press, we are
informed by Bartel that on
the strength of his amateur
efforts, he was commis-
sioned by Macy’s, New
York City, to produce a 400
foot 16 mm. Kodachrome
publicity film for them. And
that’s usually what happens
to an amateur when he
really takes his hobby seri-
ously!

HOME MOVIES FOR DECEMBER

PAGE 60)

CO^APAkB THE RESUtTSI
COMPARE THE PRICEI ^
WEIGH THE FACTSl

Do what thousands of
smart home-movle-
making enthusiasts
are doing . . . switch
to KIN-O-LUX for the
finest in movie film
values.

RATING
Weston 12
Schelner 20®

$3.75

100 It.

KIN-O LUX, INC. • 105 W. -lOth St. • New York

Adhesive Title Letters

REMOVABLE AND REUSABLE
13/16" Gothic (240

letters) $2.50

1" Exotic C240 letters)_$3.50
NO-HALO FILM— WESTON 12
100 ft. Dble. 8mm (200

ft. 8mm) Bulk $1.35

100-ft. 16mm, bulk $1.25

100-ft. 16mm Da-Light

Leader, bulk $1.35

ACCURATE CINEMA SERVICE
& LABORATORY

2609 Morse Ave. Chicago. III.

SPECIAL RELEASE

CHICAGO'S WORLD FAIR, 1933-1934

GET-ACQUAINTED OFFER:

A Complete Reel of the above film (8 or 14mm)
for $1.00

This will bring back memories

CROWN PRODUCTIONS

159 E. Chicago Ave. Chicago, III.

New Harrison D ur aline
MOVIE FILTERS and KITS

Snappy new SCREW-IN TYPE MOUNTED FILTERS
to fit all 8mm. cameras having Wollensak 1.9 and 3.5
lenses, including Keystone. Bell & Howell. Perfex
and Revere. Single filters . . . $2.00 each — Kits,
containing Kodachroine Haze and C-4 filters. Snap-on
Shade and filter-fold as above . . . $4.95.

AT ALL DEALERS—WRITE FOR FOLDER

HARRISON & HARRISON

Optical Engineers

8351 Santa Monica Boulevard Hollywood. California

New^^ I

C^nteco

FILTER KITS

INC.

FED.

TAXES

Each kit includes: One
Dural filter-holding, felt-
lined tens shade. One
ENTECO protective
SAFETY pouch (capacity
four filters). Two dyed
in the mass optical glass
filters. ALL Kits take
19mm. filters except No.
3 which takes 22mm.
Your choice of filter
colors.

Yellow 1. 2. 3:
Green 1, 2;

Red 1, 2 (deep):
Oranze Haze u. v.
Additional 19mm. Filters
$1.15 each

22mm. Filters $1.25 ea.

Kit No. 1:

Bell & Howell, Double 8
F3.5, Revere, Keystone
8, Unlvex FI. 9, F2.5.
F2.7, F3.5, Keystone

16mm. F2.7, F3.5.

Kit No. 2:

Bell & Howell F2.5-
Kit No. 3:

Argus C. C2. C3.

Kit No. 4:

Leica 50mm. Elmar
F3.5.

Kit No. 5:

Eastman Kodak. 8mm.
Models 20. 25 and

16mm. Model E.

Kit No. 6:

K. Magazine 90.

SEE IT AT YOUR DEALER’S TODAY. OR WRITE

co*UNTiNS WINDBACKS

Guaranteed accurate. Expertly engineered and
installed. Money-back guarantee.

Keystone . . . $15.00 • Fllmo . . . $19.9 5
Eastman . . . $19.95

Notice: Above prices effective *til Jan. 1, 1942, only !

Place your orders now before advance!
CUSTOM BUILT CAMERA ACCESSORIES CO.
5712 Cedar Spdngs O Dallas, Texas

xpe^'m^en

tui Cl

• Continued from Page 581

scenes ready for splicing.
Each compartment is num-
bered as an index to con-
tent of each film scene.

On desk top are attached
a pair of rewinds and my
Craig Projecto-Editor for

viewing film, and immedi-
ately in front, my splicer.
When not in use, editor and
splicer is covered with a
typewriter cover.

— Geo. Wolf).

Miltirrlc. Penn/t.

COMPARE THE RESULTSI
COMPARE THE PRICE!
WEIGH THE FACTSl

Do what thousands of
smart home-movie-
making enthusiasts
are doing . . . switch
to KIN-O-LUX for the
finest in movie film
values.

RATING
Weston 50
Tungsten 40
Schemer 26®
Tungsten 24®

$6.00

100 ft.

KIN-O LUX, INC. • 105 W. 40th St. - New York

IIVDEX TD MANUFAETLRERS

whose products ore described in the special feature — "How to Spend
Your Christmas Bonus" beginning on page 576.

Acmelite Mfg. Co.

763 W, Lexington St..

Chicago, III.

Amer. Bolex Co.,

155 E. 44th St..

New York, New York
Albert Specialty Co..

231 S. Green St.,

Chicago, III.

A-to-Z Movie Access. Co.,

175 - 5th Ave.,

New York, New York
Accurate Cinema Service.

2609 Morse Ave..

Chicago, III.

Amberg File & Index Co.,

1613 Duane Bivd..

Kankakee, III.

Bass Camera Co.,

179 W. Madison
Chicago, III.

Bell & Howell Co.,

1801 Larchmont Ave.,

Chicago, III.

Bransby & Hewitt,

521 W. 23rd St..

New York, New York
C

Cine Shop,

1812 Piedmont,

Charleston, W. Va.

Camera Specialty Co.,

50 W. 29th St..

New York, New York
Craig Movie Supply Co.,

1053 S. Olive St.,

Los Angeles, Calif.

Custom Built Camera Access. Co.,

5712 Cedar Springs
Dallas, Texas
D

Da-Lite Screen Co.,

2723 N. Crawford Ave.,

Chicago, III.

De Jur Amsco Corp..

Shelton, Conn.

Eastman Kodak Co.,

Rochester, N. Y.

Enteco Camera Access. Co..

54 W. 21st St..

New York, New York
F

Fink-Roselieve Co.,

109 W. 64th St.,

New York, New York
Flexon Co.,

1323 Byron St..

Chicago, ill.

Franklin Photographic Industries, Inc.,
223 W. Erie St..

Chicago, III.

Fromader Genera Co.,

Davenport, Iowa
G

G. M. Labs., Inc.,

4229 N. Knox Ave.,

Chicago, IN.

Garmur Products,

P. O. Box 6073, Metro. Sta.,

Los Angeles, Calif.

General Electric Co.,

Schenectady, N. Y.

Gibbs Flood Guns
1925 N.E. Knott St..

Portland, Ore.

C. P. Goerz American Optical Co..

317 34th St.,

New York, New York
Greenwood Photographic Devices. Inc..
North Hills. Pa.

Hampden Sales Co..

251 - 5th Ave.,

New York, New York
J. C. Haile & Sons,

215 Walnut
Cincinnati, Ohio

Harrison & Harrison,

8351 Santa Monica Blvd.,
Hollywood, Calif.

R. D. Hanish Co.,

93 E. Longview Ave.,

Columbus, Ohio
Hollywood Cine Products Co.
3221 S. Figueroa.

Los Angeles, Calif.

Hamilton Dwight Co..

155 E. 44th St.,

New York, New York
I

Intercontinental Mkt. Corp.,

8 W. 40th St.,

New York, New York
K

Keystone Mfg. Co..

288 A St.,

Boston, Mass.

Knight & Sons, Inc.,

Seneca Falls. N. Y.

Kelsey Presses,

Meriden, Conn.

Lafayette Camera Co..

100 - 6th Ave.,

New York, New York
M

Mack Optical Co.,

Encinitas, Calif.

Mittens Display Letters,
Redlands, Calif.

Mansfield Photo Research Labs.
701 S. La Salle St..

Chicago, III.

M. P. Screen & Access. Co.

351 W. 52nd St.,

New York, New York
MoguU's,

64 W. 48fh St.,

New York, New York
P

Photo Engineering Co.,

2210 Sunset Blvd.,

Hollywood, Calif.

Ponder & Best,

1015 S. Grand,

Los Angeles, Calif.

R. J. Pagliuso Co.,

1000 E. Mountain,

Glendale, Calif.

Geo. T. Purves Co.

519 W. 40th St..

Indianapolis, Ind.

Raven Screen Co.,

314 E. 35th St..

New York, New York

Jas. H. Smith & Sons Corp..
Griffith. Ind.

Superior Bulk Film Co..

18 W. Randolph St.,

Chicago, III.

Thalhammer Co.,

4663 San Fernando Rd..
Glendale, Calif.

Willoughbys,
no W. 32nd St..

New York, New York
Weston Elec. Instr. Co.,

Newark, New Jersey
Wollensak Optical Co.,
Rochester, New York
Western Movie Supply Co..

254 Sutter St.,

San Francisco, Calif.

Wholesale Photo Supply,

6628 Santa Monica Blvd.,
Hollywood, Calif.

Welmet Co.,

112 W. 44th St.,

New York, New York

Maevan Turrets, Focusers and Backwiods for your
8mm and 16mm cameras.

Re-designed and Re-styled to match your cam-
era perfectly.

Positive NO-PLAY indexing on the turrets.
Fully guaranteed for two years.

We supply adapters to match lenses to your
camera, including adapters for model 20 and 25
Eastman Cine Kodaks to permit use of filters and
Wide Angle Lenses.

IFe solicit your lens repair work. Having lenS'
grinding and polishing machinery^ we can replace
broken and scratched elements in your fine lenses.

MACVAN MFG. CO.

3829 El Cajon Blvd. San Diego. Calif.

NO W1

A High Quality
16mm Reversible

Outdoor Film
160-ft Roll $1.98

For Only ^

Rating Scheiner 18

A High Quality
8mm Reversible

Outdoor Film
25 ft. Double 8 33^

For Only

Fast Service — Processing same day included.

Ask your dealer or send money direct.
Write for prices on developing and processing
your 8mm and 16mm films — even if you bought
them elsewhere.

Visual Instruction Supply Corp.

1757 Broadway Brooklyn, N. Y.

Wheti Tou Bu>i BAIA
Tou Buy the Best
Precision Made;
Guaranteed Perfect

$2.50

From Your Dealer or Direct
BAIA MOTION PICTURE ENG.
259 Gerald, Highland Park
(Detroit), Michigan

PAGE 602

HOME MOVIES FOR DECEMBER

COMPARE THE RESULTS/
COMPARE THE PRICE!
WEIGH THE FACTS!

Do what thousands of
smart home-movie-
making enthusiasts
are doing . . . switch
to KIN-O-LUX for the
finest in movie film
values.

RATING

Weston Tungsten
100

Scheiner Tungsten
29°

(No Outdoor
Ratings)

$6.40 100

KIN-O-LUX. INC. • 105 W. 40th St. • New York

AT YOUR DEALER

ONLY 45c BOTTLE

For Coloring Movie Scenes and Titles

Sem! fur FREE Hulletiji No. 20

MANSFIELD PHOTO RESEARCH LABORATORIES
Dept. HM-12, 701 So. La Salle St., Chicago, III.

PB MOVIE KIT for COLORFILM

$4.75 COMPLETE
1 I'ii Lens Shade and Filter Holder.

1 rii Haze Filter <foi Kndaclirome ) .

1 TT‘> Conversion Filter (for converting Type A to
daylight) .

1 IT5 Filter roiich.

for .HI Standard Makc'S of Smm’s

PONDER & BEST

1015 South Grand Ave. Los Angeles, Calif.

Use

Thrifty

16mm.

Film

Better Pictures at Less Cost

THRIFTY ORTHATYPE, for out-

door shooting, non-halation, C'7.25
line grain, per 100 ft. roll

THRIFTY PANCHROMATIC—

Per 100 ft. roll $4.25

THRIFTY SUPER-PANCHROMATIC
Per ino ft. roll $4.50

California. Buyers include Sales Tax.

THRIFTY FILMS

Drawer 98, Watts Station
Los Angeles. Calif.

Kodachrame

MAPS <?4c^FINE TITLES

Geo. W. Colburn Laboratory

Special Motion Picture Printing

I I97A Merchandise Mart, Chicago

"THERE IS NO SUCH THING AS"
Dry-Brittle-Rainy Films — When Processed With

" V I T A F I L M "

It Solves Your Film Storage Problem
Trial 4 Oz. Bottle 50c to $6.00 per Gallon.
See your nearest Dealer, or order direct.

R. D. HANISH COMPANY

93 East Longview Ave. Columbus, Ohio

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